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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 Trigger Name of arrangement: It Doesn't Have To Be This Way Name of individual song(s) arranged: Battle with Magus, Frog's Theme Lucas Guimaraes (Arrangement, Mix) TSori (Trumpet) My comments: Boy, talk about an exposed arrangement. As if Solo Piano, solo guitar, or anything else wasn't hard enough, this is a solo performance on a monophonic instrument. Normally I'd do a source breakdown, but literally EVERYTHING in it was derived from the source. This idea came about for the Pixel Mixers contest month in November. TSori hit me up and went "What if we did a solo trumpet arrangement" We tossed a few ideas around. So I landed up on this idea: What if there was an alternate timeline where Cyrus doesn't die, and many of them in battle are injured. The second part, which is just Frog's theme, focuses on Frog's reflection from the battle. When both themes are merged in the third part, Magus tries to explain to him his true intentions of summoning Lavos. Frog doesn't know what to believe. I left some ambiguity for the listener to imagine how it ends, but my vision is that after the two fight, they move onto their real goal: Killing Lavos. It gave me inspiration and it solved another problem: That we needed enough melodic content to carry a solo trumpet performance. Okay, now for some insights on the production With such a heavy idea, and an idea on how to musically execute it (thanks TSori for solo trumpet references!), I was off to work pretty fast. I know I work fast, but this was the one time where a lot of things came together cleanly. My ideas are messy, they don't always work that clean, but we went back and forth to make the piece more idiomatic. After we handled that, we worked together a LOT to hone in on the details of the performance. It was mostly in TSori's hands until it came back to me for mixing. My initial mix for the November contest was a bit rough because I had to leave for the holiday. I went back, redid the mix some, properly mastered it this time, and now I think we have something closer to the production standards of OCR. Honestly, I'm not sure how this is going to go here on OC Remix. I'm far, far more fascinated in hearing what the judge's reactions are than anything else. I hope you all enjoy it. It's certainly different - not just for OCRemix but for VGM in general. And that's what I hope to keep doing. Paying homage to our favorite games and artistic mediums by seeing how they can be pushed. TSori's comments: I pitched the idea of an unaccompanied trumpet solo to Lucas after months of thinking about it myself , but never actually getting anywhere. Fortunately, Lucas is pretty fond of wacky ideas (understatement) so he took the suggestion and just ran with it. After discussing a few different source tunes we settled on Battle with Magus and he turned out the first draft of the arrangement remarkably quickly. We worked together to make a few small tweaks, mainly to give me a few more places to breathe, and then it was time to practice....A LOT . I had asked Lucas to make this a very technical and challenging piece, and he certainly did.! I had a blast learning and recording this, and I can't wait to see what kind of silly idea we decide to try next.

Hello, Contact Information Your ReMixer name - PsyNES Your real name - Jari Your email address - Your website - https://soundcloud.com/psynes Your userid - 20309 Submission Information Name of game(s) arranged - Nintendo World Cup Name of arrangement - The Most Beautiful Goal Name of individual song(s) arranged - Versus Match Your own comments about the mix, for example the inspiration behind it, how it was made, etc. Just another old PsyNES remix updated Originally this remix project started in August 2012 I think, at least that's what the date of PsyNES_-_NWC_wip_0.3.mp3 file is. It's been improved a lot from that, and the version you can find from my Soundcloud is also 2012 it seems! Holy sh*t time goes fast, too fast. Like always, I've made this with Renoise and a bunch of VST plugins, enjoy the happy happy candy psytrance'ish remix! Cheers! Much love to everyone at OCReMix, glad you guys are still around, the staff and the users - Jari

Hey there! It's been a while. I hope everyone is doing well. I have a something new that I would like to submit. This is a remix of "Aria Math" from Minecraft. I personally haven't played this game since it was still in beta back in 2011, but my daughter plays it. I just happened to be in our game room when she was playing, and Aria Math randomly started playing in the background and I knew I needed to add it to my VGM collection. I really loved the feel of this song and after listening to it for a while, I decided to try a remix. The mix isn't too crazy. It's kind of my normal style: easy listening/chill. I wanted to keep things kinda short and concise while being sure to follow the flow of the original. I'm still terrible at playing the keyboard and still don't know much about the technical side of music production, but I am proud to say that I did put my old Novation Impulse 49 to good use this time around. Anyways, I hope you all like it. Contact Info NoTuX (aka Blue Magic) Damon Campbell Submission Info Game: Minecraft Remix Name: Blue Magic Original song: Aria Math

Hi. Sadly I didn’t play »Baba Is You« very far, because the puzzles were too hard for me. ? But the soundtrack of the first subworld »The Lake« immediately got stuck in my head. I love the strange sound of the melody and decided to make a version with a lot more energy. You could listen to it here: Contact Information Your ReMixer name: Gaspode Your real name: Peter Köller Your email address: Your website: – Your userid: 26608 Submission Information Name of game(s) arranged: »Baba Is You« Name of arrangement: Liquid Puzzles Name of individual song(s) arranged: »Water Is Sink« from »Baba Is You« Additional information: Baba Is You, Steam (Windows, Mac, Linux), Music by Arvi Teikari Link to the original soundtracks: https://www.youtube.com/watch?v=KmSDE-lmMvo Bye, Peter

Hi. I released the first version of this remix back in 2011 on my YouTube-channel. But for the OC Remix-submission I reworked parts of it and tried to optimise the production. The source song is one of the best dungeon-themes in all Zelda games. It creates an dark oppressive atmosphere from the beginning and sets the tone for the dungeon. In my remix I tried to emphasise the feeling of constantly water dropping and the vastness of the music of the original. You could listen to it here: Contact Information Your ReMixer name: Gaspode Your real name: Peter Köller Your email address: Your website: – Your userid: 26608 Submission Information Name of game(s) arranged: »The Legend Of Zelda – The Minish Cap« Name of arrangement: Dark Waters Name of individual song(s) arranged: »Temple Of Droplets« from »The Legend Of Zelda – The Minish Cap« Additional information: The Legend Of Zelda – The Minish Cap, Game Boy Advanced, Music by Mitsuhiko Takano Link to the original soundtracks: https://www.youtube.com/watch?v=TVK4LkLbUYs Bye, Peter

ReMixer name: Treyt Name: Trevor Tuls Email: Websites: Youtube: https://www.youtube.com/channel/UCD6e8Tgh_0AZ9ixt7BPTWkA Userid: 38283 Game: Horizon Zero Dawn/Forbidden West Arrangement Name: The Edgerunner with Blazing Hair Songs Arranged: Aloy's Theme Composer: Joris de Man Original Soundtrack(s): Forbidden West: https://youtu.be/TW1sIJiv8Ro Zero Dawn: https://youtu.be/_w9B7uwLZeI My own comments about the mix: Both official renditions of her theme have a lot of whimsical movement in them that doesn't lend toward an identifiable musical theme but more of a feeling/vibe, and the composer ties it all together with the recurring melody. I went a sort of similar path in a different genre, but leaned hard into combining the identifiable melody with the pacing and sound design of the dark club style cyberpunk 2077 popularized, while staying true to my own personal tastes in energy and erring on the side of uplifting mystery and intensity/action to better represent Aloy's curious, confrontational, and optimistic nature over the genre's typical dark and oppressive vibes. I chose to include in-game samples from HZD's "longneck" enemy machine, as their extended screeches fit the genre and arrangement nicely. Cheers

Uhh, this is INCREDIBLE. I admittedly haven't kept up with Jorito's full catalog as of late, but this feels like a substantial level up specifically in terms of production. The percussion has so much impact and fluidity, and there's an incredible level of warmth to the organic instrumentation that gels together flawlessly, despite the massive array of instruments involved. Truly stellar work to everyone involved!

Hello OCRemix, After my last submission getting approved (A Scent of Lavender), I decided to submit another song from my album, because reading about the judge's opinion was really interesting for me. I think I'll submit my other songs as well (in two weeks, that's the rule !). Contact Information ReMixer name : Black SeeD Email : Website : https://blackseedbm.bandcamp.com/releases Userid : 37884 Submission Information Game arranged : Final Fantasy 6 Name of arrangement : Espers Song arranged : Final Fantasy VI 6 Terra's Theme - YouTube Comments : Hello again everyone ! This is the second track of my album of remixed video game tracks in an atmospheric black metal way (you can find the whole album here : Black SeeD - Farplane of Memories (2021)). The goal of this track and the album in general was to work with songs on which I felt that I could emphasize melancholic themes with my favorite music genre. For this song, the theme is easily recognisable throughout the whole song. It's already catchy enough by itself, so I tried to emphasize it even more in my style, make it more "bouncy" while trying to keep the melancholy of it. I hope you'll like it ! Thanks a lot ! Black SeeD

Hi, thanks for everything you do! Contact information: ReMixer name: MelodicImmersion Real name: Paul Email: SoundCloud: https://soundcloud.com/paul-devito-270647719 YouTube: https://www.youtube.com/channel/UC5sDfv940zBF6stqk7aCNPQ UserID: 38216 Submission Information: Game arranged: The Legend of Zelda: Ocarina of Time Arrangement: "Fortress of Thieves" Song arranged: "Gerudo Valley" Original song: https://www.youtube.com/watch?v=0hEYvdMoF2g&ab_channel=Halo2playa Download from Google Drive (16-bit WAV): Stream or download on SoundCloud (24-bit WAV): Additional comments: This is a follow-up to my cover of Molgera from Wind Waker ("Giant Flying Sand Worm"). Just like before it's fully-orchestrated-epic-style! Just like before, please let me know all the ways I can improve. Thank you and enjoy! Paul

Contact Information ReMixer: Outset Initiative Email: (please keep private) Website: https://outsetinitiative.com Userid: 24461 Submission Information Game arranged: Chrono Trigger Arrangement name: 12,000 B.C. Song arranged: Corridors of Time Arranged by: Outset Initiative, Jeremy Lim Comments: This is a remix I created with Jeremy Lim back in 2019 for the Materia Community album, EPOCH: A Tribute to Chrono Trigger. The creative constraints on the project caused this track to be one of the most interesting remixes I've worked on to date. A bit of backstory: One of the main requirements for participation on the album was that every track must have a "featured artist," to encourage collaboration and inspire folks to push their creative boundaries. I was lucky enough to pair up with Jeremy Lim, a good friend from the community and an even more fantastic composer, to take on Corridors of Time. Starting out, we worked very closely together to lay the foundations and feeling of the track, with a loose goal of "chill electronic" that focused on the underlying repeating pattern from the original while leaving ample room for a solid bass groove. Due to some scheduling differences, Jeremy had to step away from the project after this initial phase, which created a very unique creative situation for how I approached the rest of the composition. I decided to treat all of Jeremy's contributions and stems as "performances" and worked with them as if they were final recordings from a live performer, despite the instruments being fully digital. Because of this, I ended up finding myself snipping, pitch shifting, and remixing Jeremy's contributions within the track itself to piece together new variations on his early riffs - a remix within a remix, so to speak. It was an extremely fulfilling process and there's no way the remix would have come out anything like this if we hadn't have been forced to creatively push those boundaries. To me, the internal remixing caused the feeling of the track to spiral around within itself and ended up creating a very tight and cohesive whole that I'm very proud of. Anyway, all that to say - I hope y'all enjoy the remix as much as we did creating it!

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: Battlefield 1942 Name of arrangement: Pixelfield Name of individual song(s) arranged: Main Theme

Name: Michael Hudak Website: https://michaelhudak.bandcamp.com/album/polar Game: Dark Souls Song Arranged: Dark Sun Gwyndolin (https://www.youtube.com/watch?v=wNvujJEQ864) ReMix Title: Dance of the Moth Link to ReMix: I think the first 35 seconds of the source song is the most memorable section of music from the entire Souls series. It first plays when encountering the Moonlight Butterfly - a majestic early boss - in a dark forest (Dark Sun Gwyndolin appears later in the game, and I never even fought her in my play-through, so I don't associate this song with that character despite the official OST title). I wanted to focus on the kind of somber aesthetic that that Moonlight Butterfly encounter has with something resembling a dark electronic waltz. I ended up using a synth string sound that accounts for both the bass and mids, using the same chord progression as the original, just more arpeggiated in a kind of "Gothic string quartet" kind of style. No actual classic techno/EDM bass here. Close, middle, and far reverbs send effects on different instruments here, as per usual. Lots of modular runs sent to the far verb, something I did with my "Silent Disruptor" and "Blotto Grotto" ReMixes. Lead line is a filtered female voice, doubled with a whistle sound an octave higher to make things perhaps more ethereal. There are a lot of external LFOs here controlling all sorts of plugin parameters - modular drive rates, Q values in Fab Filter, pitchshifter wet/dry - that aren't baked into the track audio, meaning every time I exported the track to WAV, it sounded a little different. This version is the one I settled on. Source breakdown: - I only used the first 51 seconds of the source, played through twice over, roughly. ReMix sits on the same F#m chord from 0:04 to 0:44, which is 0:00 to 0:16 in source. It then changes to C#7, then there are some chord modulations that slightly differ from the source, but the lead melody is still played overtop. 0:45 to 1:15 in ReMix = 0:18 to 0:35 in source. - After a few back-and-forths it sits on F#m at 1:15 to 1:44 which is 0:36 to 0:51 in the source. The whole thing from 0:29 onward repeats again starting at 1:44, and that's a wrap (until that final guitar chord that I wanted to be a little disarming). The source tune has several other sections that I initially planned to incorporate, but I eventually decided to just focus on the drama from the driving nature of the first two sections and polish the sound design as much as possible instead of shoehorning more parts in. Short and sweet. Thanks a ton, as always.\

Just quickly listening from a casual perspective, so don't take this as a formal review, but as a listener I really enjoyed the textures and progression here. The chromatic percussion reminds me heavily of the scores for the Ori games, and the vocals are super well-integrated. Really nice work!

No point belaboring this any further - this is a kickass arrangement but I definitely picked up on the mixing and clarity issues when I paneled this and it looks like that gut instinct was right, based on frequency analysis from the other judges. I also strongly feel like the lead is just not loud enough in the mix and would be so much more captivating if it was just mixed forward a little more. I really hope you take a little time to polish this - I can't find any faults in the arrangement or performances whatsoever, and you're working with such an amazing source tune. I think it would be a very minimal effort investment that would yield a huge improvement in the final product. NO (resubmit!)

I agree with the production feedback provided by Jack and Kris here, but I'll be completely honest that I would not have picked up on that myself or dinged the track for it if I was listening purely in a bubble. I really think this gets by on the strength of the adaptation of source material, the meticulous sequencing, and abundant vibes. The lack of clarity scans, at least partially, as a stylistic lo-fi decision. I do think the track would be stronger for a little bit of mixing cleanup, and definitely a big second to Jack's point about different ways to achieve lo-fi drums without necessarily removing clarity. All that said, this feels strong enough as-is to my ears. YES

This is an interesting approach to arrangement that we don't really get often. The instrumentation feels almost identical to the original, though it's been clearly recreated with a pretty meticulous attention to detail. The end result reminds me a lot of Juke's approach with tracks like "Vacation in the Mushroom Kingdom" or "Our Home" where much of the personalization comes in the way that you interweave a number of other sources into the arrangement. This does feel a bit more like a medley but ultimately feels cohesive enough to pass muster on the arrangement. The Yoshi's Island theme is the only instance where the transition feels jarring, but you tie it back to the main arrangement by bringing in some of the Mario Kart tune at the same time. The whole mix definitely feels squished and messy, but in a way it almost kind of works? I feel like I'm listening to a maniacal live band play in a small pub somewhere, so the mixing doesn't feel entirely out of place for me and almost contributes to the live jam band sound. The organ solo rips, by the way. Nice work on that. I was fully prepared to vote NO on this when I first heard it but the more I engaged, the more I came around to it and appreciated all the subtle things you did with your arrangement. I'm glad to have flipped here, it's fun on this side YES

I love how the delicate instrumentation cascades over the backing arpeggios. It's very tender and, for the most part, pretty well-produced if not fully realistic on the sequencing. I realize that my Celeste bias might be influencing this somewhat, but after some deliberation, I feel that there's plenty of minor modulations to the writing, and the change in instrumentation also contributes to the level of personalization. I agree with MindWanderer's overall assessment on this track. YES

Very subtle use of the source material, but it checks out - through the iconic Stickerbush arpeggio, to the chords that translate beautifully to strings and choir, to the delicate piano melody, it's all there. On the production front, this is very competently put together, despite being a complete 180 from Ly's previous submission in terms of style. It's not groundbreaking, but in true trance fashion, it gets better and better as the track goes on. When everything reaches maximum velocity, it sounds fantastic. Easy vote for me once I made sure the source checks out. Can't wait to see what you surprise us with next! YES

Original Decision Hello I was a little busy and this cover was made on a old PC, so it was a little tricky to re install all stuff But here it is hope you will enjoy best regards jmabate

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: Donkey Kong Country Name of arrangement: Dancing Monkeys Name of individual song(s) arranged: Main Theme

Hey ocremix team! I'd like to submit one of my latest arrangements. Some information first! ReMixer name: Mental Real Name: Ly Tai Luu email address: my social media: https://mentalpainmusic.bandcamp.com/ https://soundcloud.com/mentalpainmusicofficial userid: 17600 Name of game: Donkey Kong Country 2 Name of original soundtrack: Stickerbush Symphony Name of my arrangement: Watercolours My Motivation: Stickerbush Symphony is one of the pieces I always wanted to remake. This arrangement becoming trance was never my intention, as it started out as synthwave. After looking for some other arrangements as reference, I noticed there was already a good amount of (synthwave) remixes, so I opted for Uplifting Trance. Trance is also something I never wrote before, so it was a fun challenge for me as well! About the remix: I followed the traditional layout of starting with the kickdrum and ending with the kickdrum. So if it may come as a slow buildup; this was an intended design feature (which I'm not sure if it fits the rest of the ocremix portfolio). I tried to make the beginning and the ending more interesting though with textures and effects. Best regards and stay safe Ly

hello, I'm French and don't speak English very well, this is my fifth submission, I hope my request is correct. Thanks Re Mixer : Onirik Dreamer real name : Karim Ajroud email : website : https://onirikdreamer.com Link of vidéoclip :https://www.youtube.com/watch?v=H5YPKemefSA user id : 38210 Name of game arranged : Super Mario Bros 2 (NES)/Yume Kojo: Doki Doki Panic (FDS) Name of original track : ending theme (composed by Koji Kondo) Name of my track : End of the beginning Additional information about game : 1988 (NES) Link to the original soundtrack : https://www.youtube.com/watch?v=9GB8SSIK0sQ Your own comments about the mix : I love this very soft track, on which I tried an orchestral touch for the intro before it goes to electro.

(sent after initial rejection - NES triangle intonation tweaks) Original version Another Mario one for you all. This is a new version of my first posted ocremix (#1944) from way back in 2009, adapted for my band Marshall Art. It's the same general arrangement but with completely different instrumentation, setting it further apart from the original source tune than my initial version. I think it's different enough to justify submitting it as a companion piece to my first version. We first re-arranged this track back in 2017-2018 for our MAGFest main stage performance and subsequently recorded it for our 2020 album/performance video "ULTIMATE". This submission is largely the same as the 2020 version, but with a few tweaks to freshen it up for you guys. All the best, -Jeff Performance music video (2020 mix): https://www.youtube.com/watch?v=yBzrtD97FdQ Credits: Jeffrey 'jmr' Roberts: arrangement, NES, Gameboy, Sega Genesis programming, mix, mastering, video edit https://ocremix.org/artist/5386/jmr Mikhail 'streifig' Ivanov: ebow guitar, rhythm guitar https://ocremix.org/artist/14464/streifig Cory Johnson: lead guitar https://ocremix.org/artist/18300/cory-johnson Jer Roque: Piano https://ocremix.org/artist/15835/jer-roque Erich 'ErichWK' Beckmann: drums, drum mixing. 4/2/23 update: I saw one of the main complaints was the intonation on the theremin style NES triangle parts. Quirk of the hardware - the pitch gets kinda squirrely on that channel in the upper registers. I hit the triangle parts with some pitch tweaks in melodyne. For context, I knew that part was a bit flat but accepted it because it was a limitation of the hardware I chose, and that's a good chunk of the band's aesthetic. The album was intended to be a pseudo-live recording with no major edits or things we couldn't achieve on stage, so it was left as is. Outside of the context of the album, I'm completely fine with faking it. Contact Information Your ReMixer name: Marshall Art Your email address: Your website(s): http://marshallart.band Your userid: https://ocremix.org/artist/14465/marshall-art Submission Information Name of game(s) arranged: Super Mario Galaxy https://ocremix.org/game/581/super-mario-galaxy-wii Name of arrangement: Meteorites and Rabbits (Ultimate Version) Name of individual song(s) arranged: Space Junk Road https://ocremix.org/song/1359/space-junk-road

Your ReMixer: EAR Your real name: Weston Ahern Your email address: Your website(s) https://djear.com/ Your userid (number, not name) on our forums, found by viewing your forum profile: 22858 Submission Information Name of game(s) arranged: New Super Mario Bros 2 Name of arrangement: EAR - Heatrave 「1000° Full Mix」 Name of individual song(s) arranged: https://ocremix.org/song/26467/world-2-desert World 2 (Map) // or World 2 (Desert) [Overworld] --- whichever makes the most sense to you. Additional information about game including composer, system, etc. (if it has not yet been added to the site): https://ocremix.org/game/94846/new-super-mario-bros-2-3ds Link to the original soundtrack (if it is not one of the sound archives already available on the site): Here is one of several YouTube uploads - https://youtube.com/playlist?list=PL0106DFD6D1393F98 Your own comments about the mix, for example the inspiration behind it, how it was made, etc. I wrote this piece for OCR's Super Cartography Bros. album in 2015 (https://cartography.ocremix.org/) where our challenge was to remix the extremely short Overworld Map themes from New SMB 2 into fully dancefloor ready tunes. I opted to blend my love of the hectic 90s rave-influenced sound of Hyper Techno with the fun 'Put-a-Donk-on-It' nature of UK Bounce.

Contact Information -Epic Game Music -James Ronald -www.jamesronaldmusic.com, https://www.youtube.com/@EpicGameMusic -38519 Submission Information -Super Mario Bros. -Cascade Cadence -Fossil Falls Collaborator Info -James Rolfe