Emunator

Hey friends, I saw OCR was looking for Mario game remixes in advance of the SMB movie dropping, so here's a track that's got a little age on it, but I still think it's pretty snazzy. After listening to the castle theme from New Super Mario bros. Wii a few times (not enough times to finish the game, but I digress), I tried putting my spin on the song with beetz and guitar action. Hope it makes the cut! Peace and love, D

Contact Information -Epic Game Music -James Ronald -www.jamesronaldmusic.com, https://www.youtube.com/@EpicGameMusic -38519 Submission Information -Super Mario Bros. -Level One of Fun -Ground Theme

Danny K Music Daniel Kamstra User ID: 38518 Danny K Music - YouTube Submission Info Game: Mario and Luigi: Bowser's Inside Story (Nintendo DS) Title: Nostalgic Stroll Through Town Song Used: Mario & Luigi: Bowser's Inside Story- Toad Town - YouTube Composer: Yoko Shimomura Inspiration This was one of the first DS games I owned and fell in love with the game almost instantly with its colourful cast of characters, some of my favourites being Fawful, Midbus and Bowser, the comedy and the gameplay that took the Paper Mario formula and kicked up the intensity. And how can I forget the soundtrack with some iconic songs such as "The Grand Finale" and "Tough Guy Alert!" Toad Town is, in my opinion, such an underappreciated song in the game. It fits the concept of a safe area nicely with the simple melody, minimal instruments and calm atmosphere. I wanted to try and capture something a little different with my rendition and rather than make something with a similar atmosphere, I wanted to make it more nostalgic (for lack of a better term) as that's how I feel seeing and playing this game and listening to the OST. Brings me back to a much simpler time indeed!

ReMixer name: BeanJammin real name: Keenan Lind email address: website: kl-music.com userid: 38010 Game: Super Mario World Name of Arrangement: First Jumps Name of song arranged: Athletic Theme Composer: Koji Kondo Original Soundtrack: https://www.youtube.com/watch?v=GVhAkQuZvLQ Comments: Saw your call for Mario remixes on Twitter just as I had been working on touching up this track in preparation for my first cover album going on streaming! I originally made this for a Celeste mod I made with my wife called Quickie Mountain 2, which is directly inspired by the Kaizo Mario hack Quickie World. The goal for all of the music I made for that was to cover the same track used in the original hack, but with a Celeste-y, digital fusion twist. I also took a lot of inspiration from Cake's cover of Manah Manah (yes, the song from the Muppets it absolutely slaps) to try and create something that was as weird as it is fun! Hope yall enjoy~

This submission captures all of the things I've enjoyed from Pixel Pirates previous submissions, and avoids most of the pitfalls I've seen with some of their rejected tracks. There's an excellent variety of sounds and textures, mixing the classic supersaws with patches that evoke memories of old 80's/90's keyboard workstations. The production is clean and punchy. There's some wholesale repetition but enough variation in structure and bridges that it doesn't scan as lazy, or a way to cover up the fact that you ran out of ideas. All in all, I'd consider this one of your more successful outings to date! We'll see if the rest of the panel agrees. YES

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 Lost Vikings 2 Name of arrangement: Dark Pixels Name of individual song(s) arranged: Dark Ages

Your ReMixer name: Lucas Guimaraes Your real name: Lucas Guimaraes Your email address: Your website: https://twitter.com/Thirdkoopa - knew nothing better to link for this Your userid (number, not name) on our forums, found by viewing your forum profile: http://ocremix.org/community/profile/33965-thirdkoopa/ Name of game(s) arranged: Chrono Cross Name of arrangement: The Garden of the Gods Name of individual song(s) arranged: The Sea of Eden Original album this was on: https://gamegrooves.bandcamp.com/album/divergent-waves-a-tribute-to-chrono-cross Attached the .wav below. Please let me know if you also need the .MP3 Description for the site: I covered this song on a last minute whim for the Chrono Cross GameGrooves album. Chrono Cross is one of my favorite games of all time, easy (along with Chrono Trigger, Paper Mario: The Thousand Year Door, and Pyre), so I had missed out on the initial sign-ups of the album thanks to some life changes. I sent in this synthwave arrangement on a last minute whim and it ended up being super useful. Why? This was the song where I learned that I could just track hardware synths into my DAW. Incredible knowledge. I now actually track hardware synthesizers now! Plus I got to solo produce it and actually use my EWI. So a bit more about the song: My vision here was a synthwave song that introduced how eerie Chrono Cross is. In the original game, it's the main menu theme, so I wanted to really make things unsettling. I think I managed that with this arrangement. Especially at the end during the fade out and all of the various parts that all the instruments play during. This ended up being a pretty simple straight-forward arrangement too. Different than my usual jam. I hope you all enjoy!

Beautiful, lush textures with some excellent aquatic sound design that does a lot to enhance the original source material. Although this is an ambient track without a lot of clear progression markers, there's still a subtle dynamic curve that gives this a sense of direction and flow, allowing it to function well as a standalone piece rather than just a collection of sounds or something intended to be looped. The baritone vocals and brass especially add to the drama without breaking immersion. My lone gripe here is the soprano vocal sample, which transitions very awkwardly between notes at times without a clean legato. It sounds like every note is dubbed over the previous one, like a synth pad rather than a single human voice. The vibrato also sounds unnatural; this may be a limitation of the samples you're using, but a little more care put to smoothing out the transitions between notes and giving it more of a natural vibrato would have gone a long way here, considering how prominent that element is in the mix. Other judges mileage may vary, but I think you got a lot more right here than you missed the mark on. I'm happy to sign off on this, good luck with the rest of the vote! YES

Game: Metroid Fusion Source: Sector 4 Underwater Area Remix title: "Ambient Fusion Water" Remixers: HoboKa (primary arranger), Ridley Snipes (additional arrangement/EQ) & Hemopheliac (live vocals - Baritone) DL: (different formats, all the same final render) Artist Comments: "Initially made this remix as an entry for MnP131 https://compo.thasauce.net/rounds/view/MnP131 Some EXTREMELY good entries in this round all...a-round. Ouch! I slapped myself, musta been reflex. Anyroads, I wanted to give the source material extra ambience and a movie-esque motif, with soprano vocals. And I think that Hemopheliac and Ridley Snipes did an EXCELLENT job of complimenting and adding to my vision. They were SUPER fun to work with and very patient with my ADHD / ASD tendencies. They helped me pull through a very difficult time and am forever thankful for taking the time to collaborate with me. Whew, getting a touch emotional here... Anyways, hope you guys enjoy this!" -HoboKa "I enjoyed what HoboKa came up with and thought there was a little something I could add to the track." -Hemopheliac "My favorite part of Metroid Fusion is when Samus puts on her helmet and says 'its morphin time'. And no further explanation (needed)." -Ridleysnipes [Taken somewhat out of context. He'll forgive me. Probably.]

This is an interesting one - the sound design is a little rough around the edges but it does give it an interesting production quality that I can't quite pin down. The bass and drums get crunchy. 2:49 chip arp is super cool, ushering in some dirty guitar chugs. Arrangement is very engaging.

ReMixer Name: Grant Supak (Real name is ReMixer name) Name of game: Metroid (NES) Name of Arrangement: Space Huntress Name of Individual Song: Norfair (Flame Stage) Hope you enjoy the remix! It's a track that sat unfinished for several years as I couldn't quite nail what I wanted to do with it. I picked this particular theme as it's not one I've heard done hundreds of times, and its dissonant, non-musical qualities presented a unique challenge. Ultimately, I decided on a dreamy intro with the main progression altered from the original minor key to major. I added horns, inspired by the militaristic, triumphant sound found in the Crateria surface theme from Super Metroid. The song is a "fever dream" of sorts; it starts out chill and hopeful, but subtly morphs into menacing as it progresses, underpinning the hidden dangers of the Zebes Norfair area. It becomes more chaotic and jarring with each new section, the chosen instruments edgier and harder as the threat level increases. An ethereal wind blows underneath that ties the entire dream sequence together. Thanks for your consideration!

Sounds pretty great at first listen, it hovers around a consistent rhythm and energy level and is over pretty quickly, ending without a lot of fanfare. Not sure if the source usage holds up under scrutiny, but this definitely has potential.

I didn't see what the subject line was supposed to be in the submission info and it's been a while since I submitted a mix so sorry if this is wrong! Remixer name: mikeHEARTu Real name: Michael Macasiano Email: Website: https://mikeheartu.com/ Userid: 31212 Game: Path of Exile Name of arrangement: Into The Unknowing Name of song arranged: Prophecy (Music from the trailer) The song I'm remixing is from the trailer but the trailer music usually made it's way into the game's soundtrack in some form. Since there isn't any Path of Exile listing on the website, I'll explain a bit. Path of Exile is a free to play game and every few months they release a new expansion with a new batch of content. That new bit of content includes new monsters, bosses, game mechanics, and, of course, music. The score for Path of Exile is mostly done by Kamil Orman-Janowski, to my knowledge and it's mostly available on Youtube. Grinding Gear Games, the developers, offer the soundtrack in some game packages but it's not on Spotify or anything like that, weirdly enough. https://www.youtube.com/user/KamilOrmanJanowski My mix references the music from the trailer for the Prophecy league which was released in 2016. As it's a trailer, the musical component was relatively small but it was evocative enough to inspire some riffs. The main point of inspiration comes about 53 seconds into the video. The little melody there sounded interesting and then I was, and still am, into death metal so I put some death metal flair on it. For the most part, music in Path of Exile is very cinematic or moody so pulling out elements to do remixes is a bit harder for me to execute on. I think I try to capture rhythmic and feeling elements the most when imagining what to do with the Path of Exile music and hoping it resembles the original in some way. Here's a link to the trailer: https://www.youtube.com/watch?v=rsE_lMdUTd0

First impressions - there's a lot of cool textural expansion going on here but I worry that this is too conservative and lacking in structure and that the sonic additions aren't enough to keep it from feeling like an expansion on the original rather than a full-blown rearrangement. Will come back to this one.

Hoboka Remix Title: Industrial Overworld Game: Metroid Prime Source: Overworld 2 Composer: Kenji Yamomoto or Kouichi Kyuma Description: Did a faithful industrial-styled remix with damage drums and I used AIR Hybrid 3 for the whistle synth, whistle choir from Omnisphere and Poject Exodus for the Pads. Can't recall the other libraries I used. Hope you guys dig it!

Dear OverClocked ReMix judges, Seeing my submission from last summer pop up in the database was such a overwhelming surprise! Every single judges' analysis and comments meant a lot to me and were a great source of insight for me about how you encounter a completely unknown and -- compared to other submissions -- unconventional piece. This encouraged me to submit another impro from the Zelda series, which I consider to be one of my most "flawless" works of the recent past and "the dreamy cousin" of my last (OoT-related) submission. Have fun! Contact Information =================== - Remixer name: "Woody/mC" (alternatives: "WoodyofmC" or just "Woody") - OCR artist DB entry: https://ocremix.org/artist/18382/woodymc (you may add the "Born:" field with "1981" if you desire) - Real name: N/A - Email address: - Website/Discography: http://en.wpoa.de/ - Additional equipment info: http://en.wpoa.de/www/organ.en.php - Forum user ID: 37825 Submission Information ====================== - Name of game(s) arranged: "The Legend of Zelda: Link's Awakening" - Name of arrangement: "Koholint Serenade" - Name of individual song(s) arranged: "Ballad of the Wind Fish" - Link to OST: Download Links ============== - Submission audio (FLAC 2.0ch 16bit 44.1kHz): I - Original recording master (FLAC 7.1ch 16bit 48kHz): - VOD illustration: https://youtu.be/0GwhIAYvHOQ Other surround/stereo downmixes (MP3 etc.) can be exported on demand in a snap, if required -- please don't hesitate to contact me in that case. Additional Comments =================== This impro somehow developed by itself when I sat down at the organ bench for a nightly impro session. IIRC, I had finished a casual playthrough of the TLoZ:LA Switch remake a few days ago and was in a mood to relive a ten-year-old-me experience, where I had to cry heavily during the credits when Koholint island and all of its inhabitants that I got used to during gameplay just dissolved into a bunch of clear pixels. That's why my VOD illustration uses the Switch intro and outro cutscenes: If listeners can get emotional and/or nostalgic, I'm pretty sure they can feel the same despair; and with my "improvised ending version", things aren't as happy and heroic as the original end credits OST lets you get away with in contrast. Like my previous debut submission (OCR04349), "Koholint Serenade" is a completely improvised work, played on-spot without any sheets. Every aspect reproduced from the original tune was picked up solely by ear and arranged on-the-fly, which -- again -- makes it a unique creation that I cannot revise, replay, rearrange or otherwise "polish" in any way that keeps the overall mood setting intact. From a dynamics point of view, the piece is pretty quiet and serene (compared to the OoT one) and does not follow my "ramp up" pattern that I stress quite often; instead, there's a clear eight secs highlight at 1:31 spiking out to grab the listeners' attention for the upcoming drama that requires them to listen closely. Usage of a third in relation to the base note is one of my favorite patterns that I adapted from Bach music in particular, although I'm not playing very much (if not, at all) of Bach music on any pipe organ I encounter. However, this third-on-base pattern is so striking and tense to me that I used it somewhat instinctively here, I guess... Lots of 7th and 9th chords here and there in the soft "strings" stops section are meant to build up the "serene counterpart" in the quieter sections of the piece, while a constant "heart beat" in the pedals (= bass stops) provides a sometimes-changing pulse as a contrast to the long-drawn, breathing notes. Remember, a Wind Fish is just a giant flying organ bellow with lots of air in it... Interleaved lower- and higher-pitched flutes in the later sections of the piece make this sound almost like a conversation between the Wind Fish and the birds flying over the ocean to me. For the full emotional experience, I highly recommend to watch the VOD in order to let the combo of music and supporting visuals do their work and provide you with an "alternate end credits theme" for the game that initially drew me into the Zelda universe about 30 years ago. As a reminder, pipe organs are wide-dynamics instruments and the piece (like all of my other organ pieces) heavily depends on these dynamics, so compressors are an absolute no-go for this kind of music and recordings. All of my pieces are leveled to a -0.1dB peak for full organ (= all stops active), so they could stand side-by-side on a compilation where the dynamics need to be kept in sync across all pieces. However, my lesson learned from the last submission is that the "rendering intent" is different for the OCR audience (mostly stand-alone pieces), so the 2.0 stereo FLAC provided for this submission is an exception from that rule. This is one of the rare occasions where I normalized its peak up from -3.09dB (~70% full volume, since it doesn't use full dissonant organ) to -0.1db (~99%). The 7.1 surround version provided among the download links is still at the original 70% level, because a) it's part of two different albums (to name them, http://en.wpoa.de/WPOA-ADHOC and http://en.wpoa.de/WPOA-MOM4 in my discography) and b) it's an additional gimmick for you to listen and compare (rather than the stereo material that you'd need to publish the song on OCR). -- Greetz, Woody/mC

When I saw this many sources for a 3 minute long arrangement, I had a pretty good idea in my head about what issues might be present here. However, I actually feel like you did a great job weaving the songs together without feeling like a pasted-together medley. My actual gripe with this remix is simply the lack of textural variety in the sounds - even some of the stock sound effects are reused multiple times throughout the arrangement. The beats are static as well without a lot of nuance in terms of fills or progression. :47 feels like the melody skips a beat by accident, is this just an oversight? Also, the ending fadeout feels super lazy There's a fantastic melodic arrangement here, but the synth design and production details simply aren't there. NO

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: Megaman X2 Name of arrangement: Pixelman X2 Name of individual song(s) arranged: Zero's Theme - Flame Stag - X-Hunter Fortress - Dr. Cain's Lab - Opening Theme - Wire Sponge's - Ending Theme Your own comments about the mix, for example the inspiration behind it, how it was made, etc: Just like I did with Megaman X I did a medley style with my favorite songs from Megaman X2. This is more of a bonus song to the first song so it is a lot of re-used sounds from there. Its all up to personal preference if you like first or second more.

Oh, this is so delightfully weird and dissonant. I never would have thought about taking this source in a direction like this, but now that I've heard it, I can't imagine a more appropriate way to take on Southern Swamp. The rhodes performance invokes some of the more idiosyncratic tendencies of Kid A/Amnesiac-era Radiohead for me, and immediately sets the tone for the rest of the song, but this arrangement really hits its stride when the saxophone enters the mix. The more tranquil, melodic outro is such an inspired touch, too! Admittedly, some of the instruments here, on their own, are not perfect in terms of tone and expressiveness, and the drums and bass feel especially dry, so the more layers you bring in, the more it masks those imperfections and builds a fully-realized soundscape. I'd love to hear more gel and cohesion between the instruments, but this easily gets by on the strength of the arrangement and adaptation, in my opinion! YES

Remixer Contact Information Your ReMixer name: shieldeater Your real name: Chris McGee Your email address: Your website(s): https://shieldeater.bandcamp.com/ Your userid: 7727 Submission Information Name of game(s) arranged: The Legend of Zelda: Majora's Mask Name of arrangement: A Cursed Land Name of individual song(s) arranged: Southern Swamp Your own comments about the mix, for example the inspiration behind it, how it was made, etc.: This is my take on the tune that plays in the troubled lands lying in the four cardinal directions from Clock Town. For me, this is the piece that best embodies the strange and desolate atmosphere that makes Majora's Mask one of the best games ever. I began with electric piano and gradually added instruments until it became something both sinister and funky. Hope you enjoy! —Chris

This OST is great! There's a lot of interpretation and energy in this adaptation, so from an arrangement standpoint, I really like what I'm hearing. The mix feels sort of hot and maybe unintentionally distorted at times. Haven't done a full source breakdown yet but overall sounds like good stuff to me.

ReMixer name: Treyt Name: Trevor Tuls Email: Websites: YouTube: https://www.youtube.com/channel/UCD6e8Tgh_0AZ9ixt7BPTWkA SoundCloud: https://soundcloud.com/traycermusic Userid: 38283 Game: Arrangement Name: Valorous Heart, Onward! Songs Arranged: Heroic - Micro Mages OST Composer: Julius Riecke Original Soundtrack: Version 1 youtu.be/2WSw1MX7G9s Version 2 www.youtube.com/watch?v=ssPwDUTZlEI Comments about the mix: I've never played the game or heard the track(s?) in context with their levels/ingame scenarios, but the original sources are absolute bangers of chiptune composition, and when someone posted them in the OCRemix discord the tracks literally begged me on bended knees to be remixed. I've never seen something without legs (or physical form for that matter) kneel, but it was something to behold. Anyway, it's miles beyond the first remix I sent you guys. Lemme know whatcha think eventually (judging panel woo) and I hope you like a motherflipping jam of a remix. Cheers

Off the jump, this definitely feels more ambitious in terms of sound design than Eric's earlier submissions, so this is moving in the right direction! There's more texture here from the distorted sound effects that give it a more modern feel, despite many of the synths still using very basic patches. There's a very wide quality to the mix that gives it a nice sense of space. There's a lot here that shows that you're moving in the right direction! The mixing is where this still falls short in my opinion; the balance is off. The growly bass is far louder than everything else, and many of the other instruments are mixed loud and abrasively. It still feels like all of your instruments are maxed out in volume and competing with each other for space. Another issue is that the arrangement is very short - at just over 2 and a half minutes, there's not a ton of time to fully develop your idea, and to be frank, the short coda at the end of the arrangement doesn't feel like it was integrated in a natural way at all. It comes so shortly after the main arrangement fades out and is gone just as quickly. I hate to keep sending your arrangements back, but it's promising to see you applying some of the feedback that we've been providing. I also feel like the arrangements that you've shown the most growth with are new submissions, where you're less tied to your previous ideas and more free to experiment. At this stage in your musical journey, there's diminishing returns in trying to polish your earliest ideas compared to working through as many ideas as you can muster the creative energy for. Eventually, everything is going to start falling into place as you settle into using your new DAW and develop a workflow, and although I don't think this submission is the one that's going to crack through our judges panel, I have so much admiration for the effort you're putting into your craft. Keep at it! NO

To Whom it may Concern, This is another attempt at this tune, and it's completely different than my last crack at it. I took a more atmospheric approach this time, and this was done on my desktop as well. Also, with the slower tempo, I wasn't able to make the middle section that was in my first try seem to fit in context, so I removed it. The name if the track is Rest&Relaxation, and it's a remix of the village theme from Dragon Warrior Three. MP3 is attached. Thanks! Respectfully, Eric Original below.

This was going to be a direct post candidate from me, but I know that the black metal production during the heavy parts could be contentious and it's a very long arrangement, so I'm paneling for second opinions. Will vote on this myself later with a more critical ear.