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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

ReMixer name: jnWake. Name of game(s) arranged: Paper Mario. Name of arrangement: Reaching for the Star Spirits. Name of individual song(s) arranged: From here (). Tracks #25 (Shooting Star Summit) and #34 (Conversation with the Star Spirits). I made this arrangement for Dwelling of Duels Mario month 2023. It's a chill, somewhat lofi-ish, remix of the extremely chill Shooting Star Summit track. Since that source doesn't really have much melodies I had to use a second source, which kicks right after the keyboard solo. It's thematically fitting as well since both play in the same area of the game. I'm a little lazy to properly describe the entire arrangement but... the main section is a sped up version of Shooting Star Summit's main chords, the B section takes the main melody from Shooting Star Summit. The keyboard solo is based on a similar progression from the main one and the section after the solo has the melody from Conversation with the Star Spirits but on a minor key. Hope you enjoy!

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: Super Mario World Name of arrangement: Scary Castles and Nice Plumbers Name of individual song(s) arranged: Castle Theme (Track #3, in-case it links to the whole album drive) NOTE: This is for an album that's slated to come out on 4/20. My comments: This was for the GameGrooves album challenge - the goal was to make an EP in one year. My idea was an entire Super Mario Synthwave EP. I ended up getting to mesh other genres with it - Some Latin Jazz/Funk, Ragtime, Metal, and others make their appearance. For this one, it was Dubstep+Synthwave track, which made my first time ever experimenting in Dubstep. Definitely daunting to get the hang of at first, but I'm very happy with how much progress I've made on it. The whole album was definitely a learning experience, but I'm glad to have made it. One thing I discovered about myself last year is how much more I love working on entire records than one track - you get to shape a journey for the listener for something larger than life. I was specifically inspired by Skrillex, Fox Stevenson, and Mord Fustang. I hope you enjoy it and that, revisions or not, this can make it onto the site!

Zach sent us an updated version that I've added to the top of the original post which aims to address all of the issues raised here - @prophetik music @MindWanderer please take a listen to this new version and see if this flips your conditional vote. I'm going to throw my vote of confidence behind this, as well. Pyramid Song is absolutely iconic, and I love how much you wear your inspiration on your sleeve here. I don't think anyone could perfectly recreate the skittering, fragile, organic rhythmic kilter of Radiohead's original, but you got damn close with the tools at your disposal. Your instrumental pallet is very fleshed out, with every element complimenting one another and sharing space against a backdrop of crunchy drums and hypnotic piano. Any production issues that were present in the first version feel sufficiently ironed out, I have no reservations here! YES

There are some REALLY weird harmonies here - I can't say that I find them fully enjoyable but it's certainly unique! I find myself agreeing with the previous four votes for all of the same reasons - "lack of verve" is really well-put and captures my feeling perfectly. There's actually a lot of really cool rhythms and modulations throughout the arrangement, and it's clear that a ton of work went into the writing side of this arrangement, but the sound design and production quality just feels flat by comparison. I could easily see this being a clean pass with drums that were mixed with more punch, and a lead with more expressiveness and voice, but right now, it's just falling a little bit short. I hope we hear this one again - there's a lot to love here! NO (resubmit!)

It's practically unfathomable that this is coming from the same artist that gave us downright-adorable remixes such as Meteorites and Rabbits or The Glacier's Peak. Talk about a 180! But as someone whose personal tastes run the gamut from cutesy anime music all the way to black metal, this perfectly encapsulates what I love about the OCReMix community, and how it fosters an environment where boundary-breaking experiments are not just tolerated, but encouraged, without fear of needing to maintain a "personal brand" or creating consumer-friendly content. I've listened to a lot of Sigur Ros, having seen them live in concert on two separate occasions now, and this absolutely captures the essence of their more abstract, droning wall-of-sound experiments, down to the subtle synth flourishes and field recordings, or the minimal but highly impactful drum layers. You did justice to your inspirations here with a source tune that I would never in a million years have taken in this direction myself. Never apologize for keeping it weird! \m/ YES

The sound design, particularly in the bass patches, is legitimately professional-class work for the psytrance genre. I was floored from the first seconds of this arrangement from a purely sonic perspective, but what really left me feeling satisfied was the way that the arrangement evolved over the 5 minute duration. Though we frequently return to the same motifs and sounds, there are simply so many bits of sound design and unexpected stylistic deviations that I couldn't possibly summarize all the ways you personalized and developed your concept (thankfully, you did a lot of that heavy lifting for us in your submission letter - it was a joy to read about your creative process and inspiration!) I'm on probably my 10th listen at this point and am still finding new things to love, and appreciating all the clever ways that you flipped and reinterpreted the source material into something entirely new. Psytrance is a genre that is defined by two diametrically different qualities: extremely nuanced, atmospheric sound design, and raw, primal energy. Your arrangement delivers on both in spades, marrying pristine production quality with a dynamic arrangement. I'm truly enamored by the end result here - I'm not sure what secret psytrance dojo you've been training in for the 15 years since your last submission, but the results speak for themselves! YES

Remixer: WhoAmI? Userid: 8948 Game: Xenogears OST Name: Dazil, City of Burning Sand Arrangement Title: Spirit of the Desert

Your ReMixer name: Cosmonal Your real name: Eric Fraga Your email address: Your website(s): http://cosmonal.wordpress.com Your userid (number, not name): 38073 Name of game(s) arranged: Space Harrier Name of arrangement: Main BGM CFX Name of individual song(s) arranged: "Main Theme" Your own comments about the mix, for example the inspiration behind it, how it was made, etc. This is my humble homage to a video game music close to my heart since I was a little kid. I first heard the music on Master System Space Harrier 3D, which has many other BGMs but the main one from Hiro is there too. From there, the 32x arcade conversion... and the rest is history! Hope you guys like it! It's sequenced on PowerTracks Pro, my main instrument is my beloved Korg Triton Classic since 2002. I'm using some instruments from my personal AWE32 soundfonts collection.

Your ReMixer name: SPIRAL_SYSTEM 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 Bio-hazard Battle (Crying) Name of arrangement: Pathogen Zero Name of individual song(s) arranged: TITLE Bio-hazard Battle (Japanese name: Crying) SEGA 1992 Bio-Hazard Battle Mega Drive Title Music - YouTube My goal here was to convey the brooding ominous feel of the original using modern production and sound design techniques, including claustrophobic reverb, disturbing soundscapes, and increasing volume (same as the original) but at the same time keep the Sega FM feel and the overall structure of the original. I essentially combined the theme from Level 1 into the Title theme to make it more complete, but kept the simple structure of the title theme. I also used the original FM lead thanks to Plogue's Sega FM emulator Megadrive synth, as well as designed modern versions of the old sounds (as well as adding totally new ones). Besides those, every sound in the piece was synthesized from scratch including the drums. I also strove to keep the boomy bassy feel of the original by adding several layers of bass on top of each other. I hope the fans enjoy and it brings some attention back to this much neglected classic!