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    FL Studio
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    Wes M.
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Emunator's Achievements

  1. ReMixer name: Neon X Website: https://www.youtube.com/channel/UCV8NwzoUa9I9HD1YXRIXp3g UserID: 37046 Name of game: Mario Kart 64 Name of arrangement: Toad's Nightride Name of song: Toad's Turnpike Original composer: Kenta Nagata For clarification: Name of remix: Toad's Nightride Name of original song: Toad's Turnpike
  2. Hey! I emailed you back but I have officially moved your song onto the evaluation phase. Totally my mistake, so sorry that this one slipped through the cracks!
  3. I have to quickly cosign with my fellow judges who voted NO on this track - I don't have much particular to add, as many other judges have covered it in greater depth, but the stilted sequencing and drum grooves that don't really fit with the arrangement push this below the bar for me. NO
  4. Contact Information Remixer: Akidna Real Name: Xrixa Axiaxa Youtube: https://www.youtube.com/akidna Your userid: 37854-akidna Submission Information Street Fighter 2 Chun Li: Lady Dragon (Akidna RMX) Name of individual song: Chun Li Theme Tribute to the “First Female Character of Fighting Games” with Street Fighter 2 being my first entry into the fighting game world as I can still remember that day in 1992 at the Gas Station down the road from where I had lived, they had gotten in a Arcade Machine of Street Fighter 2 and this would be the hang out spot for me and the friends on the block and we would find ourself from Sun up til Sun down and even Midnight hours as the Store stay open 24/7. Chun Li theme stuck out like a sore thumb to me as this was the character I found myself play as all the time and at first I though I was a Ryu fan, but was never able to get his move set down at that time and would always find myself using Chun Li to get through the game. I was learn to play Drums and Piano at that time as well and hated playing classic pieces so I find myself covering a lot of video game music to past the time during and this theme song just happen to be the one that I found myself rehearsing more often then not. So here I am 29 years ago from the time that I am writing this to final present my work of this wonderful memory of mine in this cover of Chun Li Stage Theme. Equipment Used: MPC X, Korg: Triton, Trinity and WaveStation, Emu Orbit 3,Roland: Fantom XR and TR8S, Logic Pro, ReFX: Nexus 3, Fabfilter Plugins, Waves Plugins, Yamaha: HS8 Monitors, Montage 8, Moog Voyager RME Rack, Audio Interface: UAD Apollo x8.
  5. ReMixer name: AlexRiordan Real name: Alex Riordan Email: Website: https://soundcloud.com/alexanderriordan UserID: 37814 Name of game arranged: Punch-Out!! Name of arrangement: The Good, the Bad, and the Punched in the Face Name of individual song arranged: Main Theme (aka Fight Theme) Composers: Akito Nakatsuka, Kenji Yamamoto, Yukio Kaneoka System: NES Comments: A spaghetti-western remix of the Punch-Out Fight Theme, commissioned by a friend Jack. The piece has three parts that blend into each other, which reflect different aspects of spaghetti-western atmosphere: isolation in the vast desert, beauty and purpose, and fight/horse chase. Each of these tempos corresponds to a horse gait: walk, trot, and gallop. Some original composed parts were added to the piece. _________________________________ Thanks very much for your consideration, Alex Riordan
  6. This is a remastered version of my Parages vs Renegades entry, "Whip of Justice" . Should be cleaner, with better bass and more audible drums. Hopefully the mix and volumes are now Bad Ass.
  7. Hi, I'm submitting my track: "Exodus (The Endless Harvest)" for your consideration. Game arranged: Splatoon 2 Name of arrangement: Exodus (The Endless Harvest) Individual songs arranged: Deluge Dirge & Frantic Aspic Composer: Ryo Nagamatsu System: Nintendo Switch Soundtrack: Splatune 2 Comments: This is a song that combines Deluge Dirge & Frantic Aspic, two songs that play during the Salmon Run game mode in Splatoon 2. I really like the twisted, off-kilter, odd-time songs in Salmon Run and wanted to translate them to a metal context. The song begins with a dark interpretation of the 'melody' in Frantic Aspic before transitioning to some connecting riffs and the main riff from Deluge Dirge. I actually got one of the riffs wrong when transcribing, but the wrong riff became a good companion to a more accurate one. I had some trouble with knowing what to do with some of the strange chords and drawn out notes of Deluge Dirge. I turned them into an atmospheric break section with lots of whammy bar work that reminded me of the foghorns in Salmon Run. The title is a reference to how Metallica and Megadeth named some of their songs in the 80s - the guitar and drums are heavily inspired by those bands. "Endless Harvest" refers to the constant business Grizzco Industries gets, how the hunt for salmon eggs never ends.. Contact Info Remixer name: Peter Le Real Name: Peter Le Email Address: Website: https://peterle1.bandcamp.com/ OCREMIX Forum ID: 37702 Thanks, - Peter Sources:
  8. I am SO glad this made its way back to us! I was on the fence about being willing to pass this in its initial form, but hearing this new version in comparison, I'm glad the vote went the way that it did. The drums are so much more nuanced and full of life here, the mixing is much cleaner and less harsh on the ears, and you did it all without sacrificing any of the whimsy and General MIDI magic that made the original version so fun in the first place. Y'all did some fine work here! My only complaint is that the new master is comparatively quiet - it sounds like this was mastered for streaming, so I find myself having to crank the volume up to get it to sound comparable to the first submission. It'd be awesome to have a version that's specifically mastered for CD levels to match the bulk of the OCR catalog, but that's just a "nice-to-have" 🙂 YES
  9. Previous Decision Games Arranged: Donkey Kong Country 2, Donkey Kong 64 Arrangement Name: Bavarian Kackle Individual Tracks: Haunted Chase (Super Nintendo, David Wise) Creepy Castle (Nintendo 64, Grant Kirkhope) Original Tracks: https://www.youtube.com/watch?v=EA-uoTWmY4U https://www.youtube.com/watch?v=_pBqgeBvO44 Comments: Even though it was rejected on the first pass, the overwhelming support from the Judges to resubmit was very encouraging. The arrangement is 90% the same with a few minor tweaks, and a complete drum overhaul thanks to the awesome Ridley Snipes! We collaborated to give new life into this polka performed by dead Kremlings. Here's what he had to say: Trevor (Ridley Snipes): Howdy! I'm glad Chris went to recruit some help from the discord server because this sure was fun to work on. I could tell the arrangement had good bones but just needed some finessing on the production side. Props to him for cohesively transposing these dark themes into major! I was originally going to just help out with drums, but that quickly steamrolled into the rest of the track. We both agreed early on to keep as many of the original instruments as possible, to preserve the goofy midi-carnival aesthetic. So outside of the kit drums and a few supplemental parts, there really isn't that much "new" content compared to the original. All the rest of the work just went into sculpting the existing midi performances and dropping them into a new clean mix! Overall I hope you find this mix to be a big improvement over the previous version. See you next Kroctoberfest! Remixers: Main Remixer Name: General Grunt Real Name: Chris Addolorato Email: Website: https://www.youtube.com/c/TransfatylvaniaFilms Forum ID: 16156 Additional Remixer Name: Ridley Snipes Real Name: Trevor Burch Forum ID: 17937 Thank you and fingers crossed! ~Chris
  10. Some excellent feedback has been given by the judges already - I can't really do much more than agree with what's been said. There's some great arrangement ideas at work here, and to your credit, you've done a lot with a limited palette of sounds through automation and clever sequencing, but I do feel like your arrangement ideas are being held back by simplistic synth patches and drum sounds and, presumably, the limitations of a mobile DAW. The production just lacks the punch that naturally comes with a full-fledged DAW - even some of the stock sounds in FL Studio or Ableton would take your arrangements to the next level and open up a lot more possibilities for sound design. I also want to touch on the ending - any of the ideas introduced after the 2 minute mark were cool in their own right, but there's a lack of flow between them and it sounds like you had some leftover ideas in your project file that aren't properly connected or fleshed out long enough to make sense in context of the arrangement. As always, there's some great ideas at work here! You've showcased a natural ability to take different melodies and expand/manipulate them in really clever ways, but this still feels like those ideas are ultimately stifled by underdeveloped sound design and vanilla-sounding samples. I know you've got what it takes to get something posted though, so keep at it! NO
  11. I love all of the reharmonization at play here, and how you merged multiple sources together into a seamless journey, it really demonstrates the flexibility of some of these tunes and the genius of the Metroid soundtracks as a whole. The analog synth pallet sounds great, as I've come to expect from Gaspode's submissions, but I also appreciate the extra care taken to give the percussion a more organic, distinctly-Metroid quality! I personally found that some of the payoffs to your buildups left something to be desired - I was expecting something a little harder from 2:08, for example. 2:30 through 4:00 dragged a little bit for my tastes, but it's not a dealbreaker for me (and clearly not any of the other judges, either!) Let's roll! YES
  12. On first listen, my gut impression was that this track was perhaps too simplistic and underdeveloped, but repeat listens showed me that I was dead wrong. Although the track does quickly find a lane and stay in it for most of the duration, the there's a deceptive amount of expansion in the melody, transitions, and structure of the arrangement that didn't immediately reveal itself to me. Some highlights include the beautiful string harmonies that add your own personal flair to the arrangement, and the "micro/macro" beatwork that Brad pointed out. I also loved the panflute lead that entered around 2:02 - perhaps bringing that in earlier in the song would have been nice to offer some respite from the supersaw lead that dominates the first two minutes of the track and contributed to a bit of listening fatigue for me. Ultimately though, this checks all the boxes and does a fine job with it - I'm glad I gave this a closer listen! YES
  13. The sound design here is really strong - even though you weren't aiming for anything particularly high-concept, this is still a very cerebral, complex remix that is anything but simplistic. The bell textures at 2:35 are a highlight for me, but every minute of the track offered something new to latch onto. Nice work!
  14. Hello, My name is Charles (artist name: ec2151) and I am submitting my remix of the soundtrack for the Namco arcade game "The Return of Ishtar" for inclusion on OCremix. I look forward to your review. All important information is below, thank you. Contact Information ec2151 Charles Heinrich https://soundcloud.com/ec2151 18829 Submission Information Game Title: The Return of Ishtar (Namco, 1986) Remix Title: Ishtar's Embrace Tracks remixed: "Main Theme," "Roper," "Opening Music" Composer: Junko Ozawa; Soundchip: YM2151 Link to the original soundtrack: https://www.youtube.com/watch?v=894MoDyMufE Your own comments: This piece of music celebrates the Namco arcade game The Return of Ishtar on the occasion of its 35th anniversary. Released in the summer of 1986, the game was a direct sequel to the influential Tower of Druaga. The Druaga series' influence runs deep, as you can find its DNA in the bones of the action-RPG genre, from Zelda to the Souls series. Return of Ishtar, which sees the series protagonists Gil and Ki trying to escape the tower after the death of Druaga in the previous game, boasted many innovative and strange features for an arcade game, including forced cooperative play, a password continue feature, leveling up and stat management - all amidst a sprawling rpg dungeon that required players to collaborate, sharing maps, hints, and secrets with one another. I have been a fan of the series and its musical score, by Junko Ozawa, for some time, and I wanted to pay homage to the sequel which is overshadowed by its famous predecessor. Ozawa's original music of Ishtar is in turn both calming and adventurous. I wanted to write a remix that transported you into the world of the series while keeping with those two moods. Thus I decided on a fusion of synthetic sounds and world instruments, where you (and the goddess Ishtar) would 'emerge' through the cloudy soundscapes to peer in on the adventurers, offering guidance and encouragement (a methodical remix of the 'Roper' theme). The rousing horn fanfares signals the start of their quest (a remix of the game's 'Main Theme'), which slowly builds in pace and intensity as more instruments and percussion enter. This leads to a final soothing section (a return of the 'Roper' theme), offering one last benediction before calmly fading out. Gil and Ki, encouraged by the goddess, continue on in their quest to bring light to the world. While I've played piano since I was 5 years old, and have been blessed to write music for several indie games (notably Demon's Tilt), it has always been a dream of mine to submit to this site, ever since I first discovered it as a small child browsing for game music online in the early 2000s. OCremix played a large role in my discovery of music and my formation as an artist. This site's composers and artists were the standard by which I judged my own music in my formative years. I hope this remix passes muster!
  15. Just like your first submission, this starts off with some incredibly gorgeous sound design! The plucked mallets, vocal samples, and various other sounds are truly gorgeous! The Corridors of Time melody and arpeggio is consistently present, but it took me a few listens to really appreciate how you introduced so many of your own melodic ideas without losing sight of the original. I have no complaints at all about the overall structure of the arrangement whatsoever, I'm really in love with the core of this track. Where I think this track falls short is the technical execution of several areas. Starting off, the transition around the 1:27 mark feels like it should hit with a huge impact and blow the track wide open, but you fell into the trap of mixing your transition sfx way too loudly. I know, I catch myself doing it all the time with these cinematic sweeper effects, but you would benefit from bringing those fills down in volume and selectively EQing the parts of that fill that you really want to be most present, so it lets the rest of your song breathe. Right now, the sweeper has such a long tail on the back end, and it's mixed so loudly, that it absolutely crushes the dynamics of every other instrument. The same thing happens at 2:22, as well. I promise if you resolve this, your transitions will have way more impact. That leads me to my next point - there is a noticeable lack of bass frequencies anywhere in the song except for those two transitions, which tells me that there's baked-in sub bass frequencies in those sweepers but you've neglected that area of the frequency spectrum everywhere else. Whether it's a sampled bass instrument or an electronic sub bass, or picking a new kick drum sample with more low-end punch, there needs to be something in the 20-200hz range. You can audibly hear a difference in how full your track sounds in the very first few seconds compared to the section that follows after. You can really see this in action when you analyze the spectrum in a free plugin like SPAN - there's a steep dropoff right around 200hz: I also want to call attention to the sequencing and tonality of some of your sampled instruments, namely the guitar and piano. The reverb on the guitar sounds too distant, even for an ambient track - it doesn't exist in the same space as any of your other leads. The tone of the guitar amp is not bad, but it does feel rather thin compared to how lush everything else is. The piano in the outro is the other problem area that I picked up on, both in terms of sequencing, which is very aggressive and lacking velocity dynamics, and tone, which has a tinny quality. I'd consider swapping that for another sample with a more well-rounded frequency balance, and easing up on the velocities, or if you're open to it, finding a live guitarist to collaborate with! I can't stress enough how much I love the arrangement and adaptation of Corridors of Time here. Conceptually, you achieved everything you set out to accomplish as written in your submission letter. However, the imbalanced mixing and inconsistent sample/sequencing quality on certain instruments are dragging this down and need to be addressed. This is an incredible song and it would be an absolute shame to not polish up and resubmit, so if you're struggling with this, reach out to me directly and we can work through this one-on-one as long as it takes to get it right! NO (resubmit!)
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