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Your ReMixer name: JGTraveler Your real name: Othello Gooden Jr. Your email address: Your website: Youtube.com/2kreturner Your userid (number, not name) on our forums, found by viewing your forum profile: 2kReturner - OC ReMix Community Name of game(s) arranged: Another Eden Name of arrangement: Timeless Desire (Another Flair) Name of individual song(s) arranged: Fleeting Wish Additional information about game including composer, system, etc. (if it has not yet been added to the site): Composer is Shunsuke Tsuchiya (Fleeting Wish). Game is on Android, iOS, Nintendo Switch (Under Development) Link to the original soundtrack (if it is not one of the sound archives already available on the site): Background Music - Another Eden Wiki (miraheze.org) Your own comments about the mix, for example, the inspiration behind it, how it was made, etc.: Update: May 2022: Since the last version of this song was rejected because of a poor mix, I resubmitted now after giving my song the Another Flair "upgrade". I hope this version is good enough to be accepted by OC Remix. The synth and the bass drive the entire song with the bottom side chaining throughout the entire piece. Even though the melody seems to repeat several times, the bass and drums switch up so the song doesn't sound monotonous/repetitive yet keeping the melodic repeating Deftrance signature.

ReMixer Name: Aesaire User ID: 34323 Game Arranged: Assassin's Creed Valhalla (2020) Name of Arrangement: The Opening of the Valhalla Name of Individual Song Arranged: Assassin's Creed Valhalla Main Theme Original Composers: Jesper Kyd, Sarah Schachner, Einar Selvik Link to Original Soundtrack: https://www.youtube.com/watch?v=UgKr2c2ZebM Comments: This remix was inspired by a similarly titled painting by the British painter J. M. W. Turner (https://www.tate.org.uk/art/artworks/turner-the-opening-of-the-wallhalla-1842-n00533), particularly the soft edges, unsaturated colours and blurry shapes that dominate the background. These elements were translated into the sound design of the instruments and ambient layers using filters, reverbs, delays, and granular effects. With the exception of the piano and the timpanis, all instruments are synthesized. The mix was also intentionally blurred to resemble the painting; akin the foreground, the lead elements were given a reasonable level of definition, while akin the background, accompanying elements were blended and smeared into the ether. The timpanis are barely noticeable, they're meant to add very minor accents or add a small amount of energy to certain beats. As for the arrangement, the original outro was used as the base for the verses, while the original verse was deconstructed to become part of the accompaniment rather than the lead. The chorus has for the most part remained the same, but is succeeded by a new section each time.

Hello OC Remix! It's been 20 years since my last submission, LOL. Hope you enjoy! Your ReMixer name - VicViper Your real name - Tom Strickland Your email address - Your userid (number, not name) on our forums, found by viewing your forum profile - VicViper (sorry, cannot find number) Name of game(s) arranged - Nightmare on Elm Street (NES) Name of arrangement - "You've Got the Body, I've Got the Synth" Name of individual song(s) arranged - Elm Street Additional information about game including composer, system, etc. (if it has not yet been added to the site) - NES, originally composed by David Wise Link to the original soundtrack (if it is not one of the sound archives already available on the site) - https://youtu.be/uNl4Ix6rIrk Your own comments about the mix, for example the inspiration behind it, how it was made, etc. - I've always believed this kinda crappy LJN game has a very under-appreciated score. Reading all the positive comments on a Youtube post of the original song inspired me to make this. I tried to preserve the spirit of the original by including the "ticking clock" sequence!

Your ReMixer name: Pixel Pirates Your real name: Tobaunta Torkelsson Your email address: Your website: pixelpirates.nu Your userid: 37469 Name of game(s) arranged: Shadow of the Ninja Name of arrangement: Shadow of the Pixels Name of individual song(s) arranged: Sea Port

This remains an absolute delight to listen to! The instrumentation sounds so organic and full of life, it evokes a feeling of a million little bugs skittering about in a hidden underground society in the most lovely way. I'm loving the contrast between the airy lead melodies and the grounding, percussive mallets and chimes. You described this in your original submission letter as "otherworldly fae-touched" and I don't think I could have said it better myself. Now that the hiss is out of the way, there's nothing holding this back. Great work, congratulations! ? YES

Oh, this is an absolute delight! The instrumentation sounds so organic and full of life, it evokes a feeling of a million little bugs skittering about in a hidden underground society in the most lovely way. I have no major gripes about the arrangement or performances, but the hiss is quite noticeable, especially since it cuts in and out on certain instruments. I’m confident that, if you’re able to isolate what instrument is contributing to this effect and apply some de-noising, this would be all the better for it. 99% there, but the hiss is distracting and needs to be resolved so that, at the VERY least, it’s not cutting in and out periodically. Get that sorted, and we’re in business! NO (you better resub this!)

This is a pretty fun, bouncy take on the source material. This plays to the same strengths that have been demonstrated in your previous submissions—I’ve always found the most engaging aspect of your submissions to be your liberal use of reharmonization and the liberties you take with the original melodic material, without ever straying too far from the original feel of the source. This features plenty of that, combined with the well-integrated sound effects, fun synth solos, and the tried-and-true synthwave sound pallet you’ve honed over many arrangements. I’d love to hear you branch out further in terms of sound design, but for what it is, I think this is clearly ready to go! YES

I was a major advocate for this track when I heard it on the Workshop forum and I’m beyond thrilled to hear it hit the panel! Atmospheric black metal is highly underrepresented in the OCReMix catalog but it’s a genre I’m personally quite familiar with and fond of! Typical black metal production relies on harsh frequencies and an overall lo-fi aesthetic that often runs counter to traditional production conventions, but the atmospheric sub-genre - and this remix in particular - subverts that by rounding out the frequency spectrum with a lush bass presence and softer high frequencies. However, the aggression and distortion that is a hallmark of the genre is still very much present in the drum sequencing and wall-of-sound that builds as the arrangement progresses. Of particular note is the section beginning at 4:11 when everything finally lets loose into an barrage of blast beats and wailing guitars. This section does a fantastic job of capitalizing on the tension that had been built up thus far. The Lavender Town melody is present throughout nearly all the track, floating like a spectral entity over the arrangement, often hinting at its presence through chord progressions and references without always explicitly announcing itself. This level of melodic expansion and creative liberty is almost necessary for an 8 minute arrangement to keep things from running stale. It’s bleak and atmospheric, but the dynamic curve feels very much deliberate. If I had to nitpick anything, the drum sequencing can feel robotic at times when you have quick repeated kick patterns; a touch more work on humanizing the velocity and timing, or mixing the drums slightly further back in the sound field would have mitigated this. Aside from that, I’m actually not sure how much of the instrumentation here is sequenced; it all comes together quite cohesively and sounds pretty realistic.. I’m very happy to give this my personal signoff and see that the rest of the panel, so far, is in agreement too. I hope this isn’t the last submission we hear from this album! YES

The mixing definitely has some messiness to it and there's some awkward chops/glitches throughout, but this is definitely deserving of some good panel feedback - it features a lot of really cool sound design and a more liberal take on the classic Castle theme. Not sure if this really has enough source to even pass the bar, but I think the artist could benefit from some in-depth feedback, since there's a lot of promise here. @Chimpazilla I feel like you would be well-equipped to evaluate this track

Remixer: masterXAE Name: Xavier Roberson Email: https://soundcloud.com/xavier-aenox USER ID:38108 Super Mario World "Super Head Bangers for Bowser" Super Mario World Bowser Castle Theme I created this using Logic Pro X. Entries from my Splice account for the Beats and vocal hits. I played the musical parts using my Keylab 88 Arturia, Arturia sounds for piano and synths, Alchemy synths for wobble, East West for choir, and a couple Cableguy plugins for effects. Then ended with Ozone for the mix. I was inspired because I love video game music, and I am dramatic in music composition. Thanks for all you do, and allowing me to make this submission. Xavier Roberson

Your ReMixer name: Cosmonal Your real name: Eric João Ferraz Fraga Your email address: Your website: Your userid: 38073 Name of game(s) arranged: Jewel Master Name of arrangement: Jewel Master Gold Name of individual song(s) arranged: Jewel Master Composer: Motoaki Takenouchi.System: Mega Drive/Sega Genesis Your own comments about the mix: I love this song and was a challenge for myself to rearrange songs that I love. That was my inspiration.

Remixer Name: LemonheadVGM Real Name: Philemon Holmes Email Address: Website: https://lemonheadvgm.godaddysites.com/ https://twitter.com/HolmesPhilemon User ID: 36968 Game Arranged: Sonic Heroes Name of Arrangement: Hang Castle (Team Sonic Racing Remix) Name of track arranged: Exercise Mode. Information about the mix: When Team Sonic Racing came out, I saw that one of the levels was a Haunted Castle. Given that the game has many remixes of past tracks, including some from Sonic Heroes, I was excited at the prospect of a Hang Castle Remix. To this day it bothers me that they didn't make one, so I decided to make one myself and hire people to play the parts live. Check out the live musicians here: >twitter.com/joshuataipale >twitter.com/ClementPanchout >twitter.com/ScottSemanski >twitter.com/mire_tyler >twitter.com/mklachu

Artist: HoboKa Game: Super Metroid Source: Title Screen Remix: The Missing Galactic Baby Warrior Description: Made this remix for MnP 119 I believe ; I worked on it some more. . Went for my usual enhance but stick close to source material, with my own personalization, hamming up the ambience and cinematic feel. And I added metroid baby sfx at the start lol. I can give a version without it, if you'd prefer to not have original sfx in there.

ReMixer name: Neon X EMail: Website: https://www.youtube.com/channel/UCV8NwzoUa9I9HD1YXRIXp3g UserID: 37046 Name of game: Donkey Kong Country Name of arrangement: Oceanic Aura Name of song: Aquatic Ambience Original composer: David Wise For clarification: Name of remix: Oceanic Aura Name of original song: Aquatic Ambience

Hi guys & gals! I'm back from my 6 year hiatus with a 6 year old remix! I actually hope to find some time this year (2022) to begin working on new music again in earnest because I do miss it. I've slowly been picking up some new equipment and VSTs the past couple of years thinking it would help motivate me to return, so now I just need to find the time Anyhow, this track comes courtesy of the 2015 Sigma Fortress Remix Gauntlet and represents the last completed song I actually made way back when. timaeus222 had been planning an album release of selected compo tracks in 2016, of which this song was to be included, but I'm not sure whatever happened to the album. Regardless, timaeus222 had jumped on board and collabed with me to help flesh out this track from the original compo version and really brought it to life. He primarily added the piano solo from 2:30 - 2:50, but also added countless other backing parts and flourishes throughout the chorus sections. I stumbled across it just the other day and forgot how much I enjoyed it and thought it would be nice to sub for others to hear after all these years. Hope you all like it too! Contact Info: ReMixer Names: SuperiorX, timaeus222 Real Name: Matt Keller Forum ID: 20342 Submission Info: Games arranged: Mega Man X4, Mega Man X5 ReMix Name: Release the Kraken Songs arranged: Volt Kraken (X5), Final Weapon 2 (X4) Here is a source breakdown for those interested: 0:00 - 0:30 = original stuff 0:31 - 0:46 = Volt Kraken bass, Final Weapon piano B melody 0:47 - 1:01 = Volt Kraken bass, Final Weapon synth B melody 1:02 - 1:16 = Volt Kraken bass line on the backing synth 1:17 - 1:32 = Final Weapon C melody (leads & pads) 1:33 - 2:03 = Volt Kraken synth B melody, Final Weapon piano C accompaniment 2:04 - 2:18 = original stuff 2:19 - 2:33 = Volt Kraken bass line on the backing synth 2:34 - 2:50 = Volt Kraken bass 2:51 - 3:04 = Volt Kraken bass, Final Weapon synth solo B melody 3:06 - 3:21 = Final Weapon C melody (leads & pads) 3:22 - 3:40 = Final Weapon piano C accompaniment

Name: Michael Hudak Website: https://michaelhudak.bandcamp.com/ Game arranged: Ori and the Blind Forest: Definitive Edition (Played it very briefly on Switch but I know it came out for PC and Xbox years before the Switch version came out.) Song arranged: "Ori, Lost In the Storm" ReMix title: "A Truth Found in Storms" More "manual" granular synthesis; lots of micro-editing of different piano clips playing the original tune (some at normal pitch and others an octave down). Many grains are only a few dozen milliseconds long, just long enough for your brain to figure out the tone. Others are shorter still, only 1-2 ms, and only sound like tics. I wanted to use these tiny slivers to act as the raindrops in a storm, while other noises act as other stormy elements. It's meta, but that's the gist of it: to have the arrangement technique itself represent the environmental context of the original song, with the melody repeatedly appearing and dissolving like the rain itself (or perhaps thoughts?). I thought this was more interesting than adding rain and wind recordings to the background while a more traditional piano piece played, which I did toy with as a coda (similar to the 2nd half my Dire, Dire Docks ReMix), but scrapped. I guess this is the most similar to the Conker mix I did, which makes sense looking back, as I started both of them around the same time...but this one ended up being finished a couple of years later. 0:22 - 0:31 in the source is repeated several times in my arrangement, and sometimes 0:22 - 0:36 as well. There are 5-6 different iterations of that melody which appear in my mix at different speeds, pitches, and in various states of chopped-up-ness. 0:01 - 0:07 in the source starts appearing in the background of my mix starting at 1:51, 2:10. & 2:27, then finally at 2:44. That's it!

So, this pains me to do this, but I don't know if I can comfortably sign off on this. It's Jordan, so of course the production and concept is going to be ace - no disputing that. The middle eastern instrumentation sounds fantastic, and the sub bass especially is handled with care on the mixing side of things. This sounds beefy as hell on a sub and really showcases Jordan's mastery of the production game. I originally paneled this so I could do a manual source usage check, but the last minute of the track comfortably puts this over the 50% bar. However, therein lies my main issue - the source, while substantially represented throughout the track, is played out as identically with each repetition. The Underground melody is played out as a loop that's repeated multiple times, and the only variation I can pick up on is the filtering applied. To me, this feels too repetitive and and the presentation of the melody is very noticeably looped, especially during that last minute of the track. For that reason (and only that reason - everything else is extremely competently assembled) I'm struggling to justify a YES vote here. Curious to hear what the rest of the panel feels on this. NO

Been a while since I submitted something, Wanted to share this one because I feel the marriage of middle eastern instruments and the original source do magic together. This is an Arabian Trap remix of the cave theme from Super Mario Bros. 2 and was originally intended for NESterYears 2. I ended up scrapping that project and am pursuing SNESterYears instead. So in light of that, I wanted to submit this gem to OCReMix to celebrate that I am still remixing after 20 years. Cheers, Jordan

I mainly paneled this one due to source usage - it's going to take a bit of diving in to connect the dots on the source but sonically, I like what I'm hearing! This is quite a bit different than anything we've heard from DDRKirby before, but the sequencing is on-point with the acoustic instruments and the soundscape is full of lush texture. Arrangement-wise, this doesn't feel undercooked like we often find with chillhop arrangements, there's plenty of variation going on. The mastering/production is probably a bit loud and aggressive for the genre. Will come back to this one!

Contact Information =================== *Your ReMixer name: DDRKirby(ISQ) *Your real name: Timothy Wong *Your email address: *Your website: http://ddrkirby.com *Your userid (number, not name) on our forums, found by viewing your forum profile: 8933 Submission Information ====================== *Name of game(s) arranged: Diddy Kong Racing *Name of arrangement: Chill Beats to Race To *Name of individual song(s) arranged: Boss *Your own comments about the mix, for example the inspiration behind it, how it was made, etc.: This one comes at the behest of Nicolas Daoust, who requested a remix of the Diddy Kong Racing boss challenge music through my Patreon (https://www.patreon.com/ddrkirbyisq). This genre might come a bit out of left-field for those who don't follow my work closely, but I've been dabbling in this sort of lo-fi/chillhop style for the past year or two. I'll have to once again shoutout One Hour Compos (https://compo.thasauce.net/compos/view/OHC) as that has provided me with the perfect avenue for regular musical experimentation, and allowed me to significantly expand my musical toolkit on multiple occasions. Almost all of the instrumentation used in this track consists of stuff that I've already tried out before in OHC...practice makes perfect! For this song in particular I wanted to contrast the high energy of the source track by dialing the tempo way down and enveloping everything in luscious reverb. It was an interesting challenge finding ways to slot the different melodies into a much slower groove, but I had fun with it, especially with the guzheng solo work (sample library courtesy of Impact Soundworks [https://impactsoundworks.com/product/plectra-series-5-guzheng/]). Hopefully you all enjoy it as well! --DDRKirby(ISQ)

Original decision Game: Duke Nukem 3D Title: Stalker Additional Info: Composed by Lee Jackson. Original soundtrack link: https://youtu.be/bLphA-MZvXg Arrangement Name: Stalker V2 [Factory Reset] Inspiration for my mix: Thank you for reviewing my first submission and I really appreciate the feedback you gave me. My goal with this mix and production was to take the original theme song and really attempt a big studio rock hit factory sound with a cinematic movie edge but keeping the same spirit of the original composition in regards to its overall tone. I wanted it to have the feeling of more of a band playing together but keeping elements of that computer industrial arpeggiator sound to really drive it. It was arranged mostly on Pro Tools and Ableton Live. We recorded live electric guitars and electric bass. I used mostly hardware synthesizers for this production as well. There are some slight additional melodic and rhythmic parts added to bridge some sections together (like a cinematic SFX or additional drum hit - yes). There are additional melodies added but the original main lead from the original is unaltered and remains distinct in this version. Some melodies may be louder or quieter in this mix. My Details Remixer Name: Marc Armitage Real Name: Marc Chemaly Email: Website: https://www.marcarmitage.net Userid: 36369 Forum Username: marcchemali

ReMixer & real name: Eino Keskitalo e-mail: Names of games arranged: Final Fantasy V, Final Fantasy X Name of Arrangement: Sovitus Names of individual songs arranged: Lenna's Theme (FFV), Lulu's Theme (FFX) Sources Lenna: https://youtu.be/Egvbf_Vfs80 Lulu: https://youtu.be/kshxwh_CLYk MP3 link: FLAC link: Long time no see! This arrangement was originally made for the final round of the Final Fantasy Crystal Clash competition, way back from early 2014! I think I dare not listen to the compo version, the mix was crammed full of stuff. It took me eight years to clean it up! Cut a lot of stuff out, not everything has to be playing all the time. Big thanks to Timaeus for excellent feedback on the OCR forums, and to the #workshop channel on Discord for comments. Source breakdown (this is quite liberal..): The long intro: 0:00-0:07 no source anywhere 0:07-0:24 The descending pizzicato from Lulu's theme (from the start) is there on the violin to the right, adjusted to major key.. if you'll accept that. 0:24-0:42 Pizzicato continues; Lenna's bells from 0:00-0:10 on the chippy synth to the left 0:42-0:51 No source First "verse" 0:51-1:25 Lenna's bells + melody (on the fake guitar, different rhythm) from 0:06-0:28. Second "verse": 1:25-2:00 Bits of Lenna's bells, bits of Lenna's melody. 01:41-01:44 has a bass fill from Lenna (0:39-0:42 in the source). From Lulu, the melloflute melody 0:14-0:25 is adjusted to key (& rhythm) and plays in the background organ at 1:27-1:30 and 1:44-1:47. Due to the adjustments, these perhaps don't count as prominent source usage. 2:00-2:03 A little break First "chorus": 2:03-2:07 The lead follows the lower bell from Lenna at 0:55-1:01 (though the rhythm is different). 2:07-2:11 Lulu's melloflute from 0:14-0:19 2:12-2:20 2:12-2:14 and 2:16-2:20 you can hear the higher bell from Lenna's at 0:55-0:58 in the background. 2:21-2:25 The descending pizzicato from Lulu's theme's beginning plays once @ 2:21. Sorta. Third "verse": 2:25-2:58 The Lulu's B-part melody from 1:09-1:34 plays twice (with the harmony very much reharmonized). Lenna's bass fill at 02:40-02:42. 2:58-3:02 a little break Second "chorus": 3:02-3:10 The lower bell from Lenna's 0:55-1:06. 3:10-3:36 Variations of the previous bit; the original melody is there in the background. 3:33-3:36 follows the chord progression at the end of the "chorus" of Lenna's theme. 3:36-3:48 a wind-down.

Hello, I'd like to submit my remix to you! Here's the info required from the form. Thank you for considering it! Contact Information Xandomize Alexander Evans No website, just a soundcloud - www.soundcloud.com/xandomize 38065 Submission Information Phantasy Star IV: The End of the Millennium The End of the Chillennium The End of the Millennium PSIV is already on the site! OST is on the site as well. I knew I wanted to make a drastic change to this song, as it's a fast-paced, super in-your-face rock song on the OST. I began working towards a synthwave feel but ended up at a slow-tempo industrial-ish electronica as I honed in on final instruments and atmospheric feel. The OST has a simple A and B part, so I added a bluesy synth solo over the last A part, and worked in some chord changes that gives it a little depth before it explodes into the last chorus, followed by a quick key change before ending on a hard, 4 on the floor beat.

Submission game: Prince of Persia (SNES) composer: Toshiya Yamanaka, Tetsuya Nakano remix title: 119 Minutes Left Artist Info remixer name: Dj Orange forum userid : 3683 real name: Geoff Harding comments: i tried Dm - Dbm - Cm9

Contact Information Your ReMixer name: Mel Decision Your real name: Mel Choyce-Dwan Your email address: Your website: https://melchoyce.design/ Your userid: 37511 Submission Information Name of game(s) arranged: Super Mario 64 Name of arrangement: The Slow Pull of the Space Docks Name of individual song(s) arranged: Dire Dire Docks Your own comments about the mix: I created this piece as part of a challenge to "write an arrangement of any video game song, but make it space-related." I immediately knew that I wanted to do a take on Dire Dire Docks. There's a thin line between deep sea and space, and I wanted to see if I could actually achieve it. I relied on layering lots of soft pianos and synths, and drenched the whole piece in reverb. I wanted to give the feeling of drifting through space, staring out through the window of a spaceship into the black. Kind of peaceful and a little mysterious, with a touch of awe. Thanks for considering!