Emunator   Judges ⚖️

"I really just wanted to walk the core melody out into the cold sunset." What a beautiful turn of phrase that perfectly captures the intangible feeling I get from listening. This arrangement evokes such a pure sense of nostalgia and timelessness while simultaneously feeling incredibly modern in its production choices. The washed-out dream pop guitars and keys and Tame Impala-style filtered drums could genuinely go toe-to-toe with professional indie pop productions from the modern age. It's a testament to Trevor's meticulous attention to technical details and an incredible ear for building a satisfying sound palette. The arrangement itself is fairly no-frills and doesn't delineate far from the initial concept, but does exactly what it needs to, stripping back the iconic Snowman melody back to its core and reshaping that into one of my favorite OCReMix submissions that I've heard in years. YES

Hi there this is my first submission i hope i follow the steps correctly. My Artist name is : SovRin Real Name: Ralph Aldridge Email: Websites: https://www.instagram.com/djsovrin/ https://twitter.com/DJSovRin UserID: 38860 Submission Info: The orginal theme is From Monkey Island 2. The track is called" The Escape from LeChuck's Fortress" My Version of this is called Electric I think originally it's credited to Michael Z. Land I didn't find it on the site but i found this one on Youtube: https://www.youtube.com/watch?v=SwEybVtSlbM Additional Info: I grew up in the 90s and Monkey Island and it's music have always meant a great deal to me. The music to this day is often stuck in my head and has inspired not a few of my own songs. This one is the first time that i took Notes from a Midi file. It's called Mi2Escape.midi from Scummbar.com As i mainly do Chipstep or Dubstep with Video game Influences this was really fun to do, although i only took the "background" notes played from the harpsichord mainly, not to Rip off the main theme from Monkey Island which is very recognizable. This track has a lot of my own sound design in it, especially the basses of course, but i try to lead with the playful melody of the original track. It also has a little not towards Last Ninja in the Intro but that was just a gimmick. I took mainly 2 parts of the harpsichord melody and worked it into a 128BPM rhythm (the original being quite chaotic and all over the place) and switched it do D#. Overall it took roughly 13 hours to make, was quite fun and i hope the reference is audible. If not let me know. Best Wishes, SovRin EDIT (12/4): sorry for the additional email, but i noticed i sent in a "muddy" version of the song, so i wanted to send in a newer version. This one is final from my side

Name: Michael Hudak Website: https://michaelhudak.bandcamp.com/album/polar Game arranged: TLoZ - Breath of the Wild (also appears in Tears of the Kingdom) Song arranged: Purified Dragon (YouTube link) Name of my ReMix: Guided to the Infinite (Google Drive link) This is my contribution to the album accompanying the excellent The Impact of Iwata project created & spearheaded by Lucas M. Thomas of Nintendo Force. He wanted each chapter in the audiobook version of the release to have a corresponding piece of music and reached out to OCR musicians to help. I chose to write something for the final chapter, Remembering Iwata, re-imagining music from Breath of the Wild/Tears of the Kingdom (per Lucas' wishes). I chose to remix Purified Dragon; without explaining too much, I'll just say that I think its in-game importance and usage thematically reflects the essence of a "last chapter". Thanks again to all judges. This is my first submission in the DarkeSword era - neat. Time does fly. - Mike

Main ReMixer name: TheManPF (User ID: 35318) Additional artists: Zach Chapman; Na Daoine Laghairt (evilsonic; Ian Martyn; Ronin Op F; Andromeda; atomic; DregsHeartRender) Submission: Game: Shadow of the Colossus Name of arrangement: On the Shoulders of Giants Songs arranged: Prologue; The Farthest Land; Demise of the Ritual; End of the Battle Original composer: Kow Otani System: Playstation 2 Year: 2005 Comments: Earlier this year, on May, I worked on a supercollab for Dwelling of Duels Playstation 2 month, where me and Zach worked with the folk group "Na Daoine Laghairt", comprised of several DoD regulars who are very skilled at putting out celtic style music. We chose Shadow of the Colossus, and did a folk/metal tune that ended up placing 7th out of 23 tracks. I haven't played the original but I played the 2018 remake which stays mostly untouched and enjoyed the experience, I wanted to arrange something that would evoke that folk melancholic style while also bringing power through distorted guitars and full choirs. The song is mostly comprised of two parts, which are sandwiched by the other two sources: -First 30 seconds taken from "Prologue" -0:30 to 2:10 is taken from "The Farthest Land", with a small original section added at 1:39 to work as a transition -2:10 to 3:28 is taken from "Demise of the Ritual", the final boss of the game -3:28 to 3:55 reprises a section of "The Farthest Land" -Last 40 seconds are taken from "End of the Battle", the original is pretty dramatic, I decided to stop on the major chord to give it more of a happy ending The lyrics for the chants and choir are written in "Runic language", a fictional language written for both Ico and Shadow of the Colossus, and it's mostly romanized Japanese inverted with some vowels removed. I wrote the lyrics after going through a bit of a down period I had where I was feeling musically exhausted and couldn't get to the same highs I had before, sort of a "pride before the fall" feeling, you climb to the shoulder of the giant, but then you fall again, and then you have to climb back up. Full credits: TheManPF - Arrangement, lyrics, sequencing, mix, electric guitar, vocals Zach Chapman - Bass Na Daoine Laghairt is: evilsonic - Acoustic guitar, mandolin Ian Martyn - Whistle, Irish bouzouki, percussion, vocals Ronin Op F - Violin, vocals Andromeda - Vocals atomic - Baritone ukulele DregsHeartRender - vocals Lyrics: Awie o etmotm Irkuy oppi ustz shatw Aw njoyk on atk in urbn Irkuy oppi ustz shatw Aw njoyk on atk in urbn Asid in omett iakch Amnakst on naknsh Urbn, ukgm Uansh oknk Ukgm, urch Askikm Urdm in nmij Shatw aw njoyk On atk ark urch Asid in omett iakch Amnakst on naknsh Urmazm, urmazm Onk umk ark urmazm Nnmr

Previous Decision Hi, thanks to sent this mail but I had already read it, i work on it, this is my last mix ready for a new submmit . Hi i want to send to summit this mix My name remixer : AdriánDBAremixes My real Name : Adrián Fernández Sanmiguel My Web Adress : https://deadbyaccident.bandcamp.com My user rid 38736-adriandbamixes Super Mario 64- Bowser Road

cooliscool Jeremy Johnson https://soundcloud.com/jeremy-johnson-850853006 & https://soundcloud.com/jeremy-johnson-24 (I have no personal website) 38856 Metroid II - Return of Samus My World over world Theme Ryoji Yoshitomi, for Nintendo Gameboy, 1991 I wrote this quite by accident during an improv/practice session. The chord progression came about by intuition, and I realized quickly that it would represent a great version of this wonderful tune. It is sparse, but I think the elements are quite strong in harmony. Enjoy! I also have a 7 minute long extended version available. Sorry for being g negligent in reading and following the guidelines first. Thanks for your consideration!

This is an interesting one that is going to take a bit of time to unravel. As best I can understand, Josh created an original piano arrangement of To Zanarkand which is based on the Distant Worlds II version of "To Zanarkand" but also incorporates aspects from the Piano Collections which, as best as I can tell, only exists as sheet music. I don't think his piano chops are even remotely in question - the piece sounds beautiful, but it'll be interesting to see how this holds up to scrutiny and if there's enough original adaptation to stand apart from the Distant Worlds official version.

Josh Winiberg http://www.joshwiniberg.co.uk 38855 Final Fantasy X Zanarkand - Distant Worlds Piano Version Zanarkand Nobuo Uematsu This is a solo piano reimagining of the Distant Worlds orchestral arrangement of Zanarkand. As a result, the while the structure is significant different, much of the arrangement is draws from the Piano Collections version, until the new themes and counter melodies half way through are introduced with the keychange to Bm. This arrangement was released on the usual streaming platforms on 17th November 2023. Best, Josh

Scintillating intro, the mood created is similar to Ruined World meets Vangelis before finally breaking out into melodic guitar riffs supported by all of the different instrumental and synth flavors that you could hope for as a listener. The mud present in the original version has been cleaned up now and this track is far stronger for it. On the arrangement side, I actually listened to the remix first, and then found myself surprised at how little there was to go off of in the original, and simultaneously how quickly it connected. I actually picked up on the laughing sfx-to-detuned guitar plucks connection immediately and found that to be a super clever way to maintain source usage outside of just the droning chord progression. This is an immaculately produced homage to Pink Floyd that, thanks to Zach's willingness to revise, is now sitting pretty in my book! YES

New version up! @DarkSim @Gario @MindWanderer @prophetik music @Liontamer Let's see if this new one is enough to flip any votes and close this out.

Artist Name: OceansAndrew A thematic remix combining several of the Inazuma area themes, specifically from Tsurumi island. When you encounter the island in the story, it is millennia after a cataclysmic event where the island was laid to waste, and ever since, it has been lost in a deep fog. The original themes are very sparse and mournful, signifying that even after thousands of years, the despair remained. I wanted to reimagine the themes as a more immediate arrangement, going back thousands of years where the majesty of an unstoppable destructive force turns it's wrathful gaze upon the island. The music in this game is so good and i'm already working on a few other arrangements from different in-game nations. Who knows? Maybe i'll even finish a world tour someday. source 1: Misty Truth source 2: Sorrow of Strays source 3: Fading Memories

Diablo I & II Tristram Theme Diablo has to Synth Diablo released in 1996 and the rest is history. Composer of the game's soundtrack was Matt Uelmen. Original soundtrack : Diablo 1 & 2 Soundtrack - Tristram Theme - YouTube In an alternate world Tristram is a cyberpunk Town. Matt Uelmen wrote this magnificent music for Diablo (video game) using his guitars (mostly).Synthesizers took over Tristram and Diablo opened a portal to a cyberpunk world, called the "80's". Contact Information 7DD9 George Karagiorgos Music | 7DD9 (bandcamp.com)

Remixer: LXE Name: Alexis Gelinas Email: Website: instagram.com/lexadex_yo 38753 -- Super Mario World 2: Yoshi's Island Stroll in the Park Flower Garden I was learning about 7th chords in my piano lessons and was experimenting with the melody over these 7th chords and it sounded so nice and relaxing so I felt a lofi vibe would work great

It's been a long while since I've composed an orchestrated song. It was a blast working with such talented musicians! The goal for this piece was to start of "curious", to build up to more of a rock/metal theme and to hit three major pieces from Dragon Warrior. I played around with some of the other songs, but these fit really well. I did some rearranging for Overworld, but tried to keep the melody very close to the original. For Tantegel Castle, I followed the cover very closely but used a Trumpet/Trombone duet to give it a very live feel. The third song (Fight/Battle/etc), I wrote a very very abstract cover of this to fit the key, and then try to overlay the Overworld melody on top (in order to tie it to the other songs). I combined parts of the other songs together in a few places as well - the string transition in the first rock section uses the Tantegel Castle's ending part (subtle, but that's what was used) and the ending rock theme, I use a lot of different parts combined. I originally started off thinking I was going to use some of the other songs as well, but I wanted to keep the length of the song at a nice size. I made some cuts (Tantegel Castle was originally longer, the Overworld had more piano, the guitar part was longer in the first rock section, I had an 8bit version of the Overworld that filled before Tantegel Castle) to keep it sounding fresh and to manage the energy of the piece appropriately. With regards to the genre choice, on the side I work with musicians doing a lot of different genres other than what you see on ocremix and animeremix. It's likely that I write more songs in these other genres, especially when I work with talented musicians. It was also nice to play my two trombones again for the first time in decades. Games & Sources: Project: Impact of Iwata (this is a project remix) Dragon Warrior Live performing parts: Cello: Chromatic Apparatus Violins: pointblanket (Violin 1 and Violin 2 + fills/sfx) Concert Flute: SableProvidence Dizi: SableProvidence Electric Guitar: Siolfor the Jackal (lead and rhythm) and Xaleph (simple chord fills/layering) Trumpet: Tsori Trombone: Xaleph

Arrangement, Mastering: Lucas Guimaraes Viola Performance, Mix: Andrew Steffen of ETHEReal String Orchestra If this gets approved and could be mixposted on Final Fantasy's birthday that'd be lovely, since this is for a Final Fantasy Viola Quartet album. Oh man, this is a fun one that has a whole story. It joins the same camp as Tyrano's Stash for a ReMix that wouldn't exist without another ReMix. In this case, it was Song of the Desperado that came in at the 11th hour for the Final Fantasy 8 album to beat the record of album with the most tracks. Basically, we needed a violist, and Andrew Steffen was happy to oblige. Andrew later on showed me some of his Viola Quartet tracks that he did. I really liked what I heard, and I asked him why he hadn't released them. His answer? Because they weren't an album. We kept joking about me finishing the whole thing, or at least he was - I took it at face value. A couple of months later I finished up 6 Final Fantasy Viola Quartet arrangements. He got to recording pretty quickly and the only thing that really halted the process was me being slow on finalizing album art (oops). So the music itself. I started this off in Sibelius. All I thought was "this is absolutely unplayable" and "there's no way this will end up sounding good". I wasn't particularly proud of it, but I knew there were some parts with potential. I was sick of hearing it and sent it off to Andrew, along with the other files. Him and I have a very collaborative process, so I trusted him in bringing the rest to life. The result? ...well, that's what you're hearing. A majestic take on a theme. Sometimes hearing my arrangements with different instruments really helps remember the potential in them. The amount of things that come together in this arrangement and performance really go above and beyond. Both the fast sections and adding more slow sections, similar to Song of the Desperado. Going for a Tango at about 2:04 was certainly an inspired choice, and one that I wasn't quite sure would work, but it got pulled off brilliantly. The slow push right back into the main theme as it begs you for more. 3:09 when the track pulls you into thinking it's ready to go back to the main theme, but it's not *quite* there yet, then the beautiful reprise at 3:40 to give the end some punch. This fits the chaos of a character like Gilgamesh. I might have stayed in slow land a little too long, but after 2 minutes of punching in the face, I consider it a good break As for the ReMix title, I went with this because Gilgamesh is waiting at big bridge behind the door. Nothing *too* fancy, haha. I hope you all enjoy!

ReMixer name: jnWake Name of game(s) arranged: Earthbound. Name of arrangement: Winters is Coming. Name of individual song(s) arranged: Snowman (https://ocremix.org/song/820/snowman) Even more from Dwelling of Duels! This one's from the 20th anniversary in September 2023. That one was a big month and this track placed 12/59, which is honestly pretty decent! Anyway, I'm gonna try to keep it brief this time. Unlike most of my remixes, this one wasn't born from an intention to remix. Instead, I was jamming on my keyboard and somehow came up with the somewhat unusual chord progression from the intro (FMaj7 - CMaj7x2 - GMaj7) and then. improvising over it, for some reason, I started playing the main melody from "Snowman". I thought it sounded pretty cool and archived that idea in my mind for a while. For DoD's 20th anniversary I was a little short on time so I decided to revive this idea and develop it further from my initial improvisation. Most of the track is built over doing fun chord/key variations over the source. I had a lot of fun building it so I hope you enjoy! Regarding source usage, the source "Snowman" (here: https://www.youtube.com/watch?v=niE24aTdtns ) has basically 2 main sections (A is from 00:00 to 00:32 and B from 00:33 to 1:07). During the remix I leave the main melodies almost unchanged but I move the chords a lot... Anyway, timestamp time! 0:00-0:30 - Original intro with the chord progression mentioned above. 0:30-0:57 - Melody from A on top of the melody, plus a transition also based on A. 0:58-1:29 - Based on B, piano does a variation of the main melody and the pads are based on the backing from B on the source track. 1:30-2:15 - Another variation of A, with a slightly different chord progression from the previous one. 2:17-2:47 - Piano solo! Nothing really based on the source here, except for the final quote of the solo. 2:48-3:14 - Melody from B over a very different chord progression. 3:15-3:41 - Sort of an original bridge I guess? Chord progression is a fun chromatic descent. 3:42-3:49 - This short synth run is based on part of B's melody (0:55 on the YT link). 3:50-4:05 - Ending of B, part just before the loop. 4:05-4:20 - Repeat of the intro, but it starts speeding up and has a big change as transition to final section. 4:21-end: - Yet another variation over A's melody, followed by a synth solo over the chord progression established in this section. Hope you enjoy! As a final note, this source is technically from MOTHER originally but I first heard it on Earthbound so I linked that game as main source.

Feedback has been shared with the artists!

Emailed Zach about this track to see if he's up to make some changes. For the record, I agree that the drone pad is probably a dealbreaker in terms of how much it muddies the soundscape, so hopefully he can adjust that!

@Chimpazilla You were right! Parker was able to get this resubmitted within an hour of reading the decision and it addresses my only beef (pun intended) with the first submission. So glad this didn't end up lingering in rejection purgatory over that. THERE'S THE BEEF!

Previous Decision "Ok, here it is. Yes - it was exactly what one of the judges said it was. Let's just say this was one of the most embarrassing mistakes I've made as a producer." Original submission: Your ReMixer name: Parker Walker (I hope that my previous remixes' remixer name can be changed from SPIRAL_SYSTEM to Parker Walker, if not, then use SPIRAL_SYSTEM. Thanks!) Your real name Parker Walker Your email address Your website(s) https://www.youtube.com/channel/UCW1jycmYfDZYXPnL6W9DEtQ Your userid (number, not name) on our forums, found by viewing your forum profile: SPIRAL_SYSTEM Streets of Rage 2 Can't stop me! Go Straight For this mix, I took a more conservative approach, because all the elements of the original are very "90s". Hence, I kept the 90s feel, yet didn't go for a total FM sound like my other SOR2 remix because I think that, honestly, Yuzo did it the best on this one and I can't surpass him. Instead, I went for 90s house feel using 90s production techniques, arrangements and sounds. I even used the legendary JD-990 synthesizer (produced at the time) and samples from the TR 909 to give extra authenticity and 90s feel. All the bass sounds are from Chip MD, a Sega FM emulator. All in all, it's a re-imagining of what the song would have been using state of the art production techniques at the time, and a quite conservative homage on this classic v-game track. I hope the fans enjoy!

Really surprised to see a NO vote on a Mazedude track, so let's see what happened... I do hear what MindWanderer is saying, and could see how it would register as a personal annoyance, but after listening to this on repeat 2 or 3 times, it clearly feels like an intentional choice. I do wonder why it was mixed so far into the background, but the actual volume swells feel totally fine. That stylistic quibble aside, we've got some classic Mazedude tracker action and I'm totally here for it. Chris' submissions always introduce me to textures and sounds I've never heard before. The groove is trance-inducing, with a very expressive bassline against a hypnotic breakbeat/trip-hop rhythm that evolves just enough over the course of nearly 5 minutes to keep me enthralled the whole time. Send it! YES

Eino's music has always had that rough, garage band-y quality to it, and this is no exception. It's a thin line to straddle though, because it can easily fall on the side of "rough around the edges by design" and "unpolished and incomplete." In this case, I think the mixing issues could be forgiven if the arrangement was a little more fleshed out and ambitious, but as it stands, there's not a lot of dynamics within the arrangement, and it fizzles out right when it feels like things are about to pick up. I think this needs a ramp up in energy to drive this piece home - right now, it feels more like an unfocused jam session that isn't bringing a ton to the table. NO

I fall exactly in line with MindWanderer - there are a lot of elements in this track that, while not bad, are underwhelming individually and leave me feeling like this track has not had enough time to cook yet. The orchestration quality is serviceable, but there's a distinct lack of expression and dynamics across the board, so this feels more like a sketch than an actual performance. Even with a mellow, intimate orchestration, there's plenty of room for articulation and dynamic contrast that could be explored. The arrangement itself is short and doesn't really introduce a lot of new writing, so although the genre transformation is substantial in and of itself, the short arrangement also feels underdeveloped. Don't get me wrong - I actually love how this source sounds in this style, it's such an unexpected and clever twist that feels totally worth exploring. That said, this feels like a rough demo/sketch rather than a complete product, and your vision definitely has more room to be fully realized. NO (resubmit)

Sent current votes to Astral Tales, waiting on a response!

Contact Information: - ReMixer name: Xaleph - Real Name: Matthew Sabol - Email Address: - UserId: 458 Submission Information - Games: FF6 and FF8 - Arrangement Name: Terrastrial - Name of Individual Song(s) Arranged: FF6 Terra and FF8 Under Her Control Tags - Psytrance Summary I wrote this for a bonus track for the GSM Competition. I played around with it and it was pretty neat mashup combination. I turned the Terra theme into a diminished chord and took some of the "Under her Control" and created a rhythm from that. Beaker voice quotes so they're public domain. After seeing how some mixes used the Muu Dream Machine, and talking to some of the DJs, they were asking for a lead in or an outro to easily mix it. As a result, I tried to focus more on club based/progressive psytrance, which is why it ends in a simple beat (so it can be mixed in). Although I wrote this in a week, I did end up going back and making minor modifications. We need more Terra mixes anyways, so I figured this would help.