Emunator

Past decision from 2013 It's been a long time since I submitted this, but here is a resubmit of the remix, I've been trying to mix this better and there are some small changes too, hopefully it is actually good enough now. On Thu, Nov 1, 2012 at 7:02 PM Jari Jouppi wrote: Source:

Name: Michael Hudak Game: The Legend of Zelda - Breath of the Wild Arrangement Name: Guardian Phase Original Song: Guardian Battle This is a phasing music piece that repeats the riff from "Guardian Battle" over and over, which I think reflects nicely the relentlessness of the Guardians themselves - hunter robots that chase and chase until they're somehow destroyed or escaped from. Or they get ya... About phasing: Phasing is an approach to minimalist composition in which two identical tracks start playing at the exact same time and tempo, but slowly move out of phase with each other as one track speeds up or slows down while the other remains the same. As they begin to slide out of phase, first you hear a doubling effect, then a delay that becomes more and more pronounced, and then finally they become totally de-synced as new rhythms appear and different combinations of notes overlap. Steve Reich popularized (some say came up with) the idea in the 1960s with his piece "It's Gonna Rain". He took two tape machines with the same tape, started them at the same time, and after a few minutes they began to move out of phase due to one of the machines playing very slightly faster than the other - "process music" as he called it. He would expand on this idea over the next several years with "Come Out", "Piano Phase", "Violin Phase", "Clapping Music", and "Drumming". Reich would become arguably the most influential American composer of the 20th century in large part to his phasing music pieces, having a huge impact on pop and electronic music in particular. Personally, if through some monkey's paw scenario I had to only listen to one composer for the rest of my life, it would (hopefully) be Reich. About this piece: Obviously a DAW will play a loop perfectly for as long as you want, so I started with a ~4-minute loop at 160 bpm, and another starting at 160 but eventually ending at 158 using an almost flat tempo automation ramp. I wanted to get a vintage tape machine sound like in "It's Gonna Rain" and "Come Out", but also the reverb of the orchestral space in "Piano Phase", so I tried to combine those lo-fi and hi-fi sounds (this also reflects the Guardians in BotW being revived ancient tech, more advanced than modern tech...the juxtaposition of themes from the game - old circuits vs new forests - really fits here). I ended up creating two more identical tracks by filtering out the low end and bringing up the white noise. The hissing, more airy tracks slowly pan out as the more midrange-y tracks pan in, and vice-versa. There are some very slight granular effects but overall I REALLY had to resist the urge to add more bells and whistles, and to just rely on the purity of my initial idea of Reich + Guardian riff. As for source usage, it's 100%. The bit from 0:04 in the source is used repeatedly until the end of the remix. although it's not obvious for much of the piece if you don't realize what's happening. For ~15 seconds at the start it's played by both tracks at once, and again for ~15 seconds at 3:25 after everything comes back into phase. At any time, though, you can adjust your ears and refocus on the source riff (done easier with headphones, focussing on one ear). It's always there. 3:32 has the only appearance of the melody that happens in the source at 0:12. In the end, I couldn't resist adding it. Thanks for taking the time to read this long write-up, and for considering another left-field submission. Source: https://www.youtube.com/watch?v=Pq3nncuA1Ak

Contact Information ► Arranger name - Serjo De Lua ► Email address - ► Website - https://www.youtube.com/c/ClassicGameOrchestra/ ► Ocremix userid - 37324 Submission Information ► Name of arranged game - Phantasy Star II (1989) ► Name of arrangement - Orchestral Arrangement ► Name of individual arranged song - Battle Theme (Rise or Fall) ► Composer - Tokuhiko Uwabo (上保 徳彦) ► Platform - Genesis / Mega drive ► Release date: JP: March 21, 1989 NA: March, 1989 EU: November 30, 1990 ►Comment - It's a game from my childhood. So great and so underrated! I hope you like it. Source:

This is Audiomancer, and this is a remix I did of Jenova's theme feom FF7 titled Jenovah's De-Evolution. I made this completely on my phone...break time at work is the most time I get to do with this sort of thing. Below are the remix and original theme. Thanks for your consideration ahead of time:) Source:

ReMixer Name: Parmpreet Gill Real Name: Parmpreet Gill UserID: 37312 Original Game: Touhou 8: Imperishable Night Arrangement: Stirring an Autumn Moon ~ Mooned Insect Orchestral Arrangement Original Song: Stirring an Autumn Moon ~ Mooned Insect Additional Information: Original Composer: ZUN This is an orchestral arrangement of the stage 1 boss theme from Touhou 8. I took the original chord progression and melody, and spread it across a wide range of orchestral instruments. I tried to retain the original identity of the track while adding in my own embellishments. There is a simple counter melody being played by the clarinet and french horn. It is subtle but still noticeable if one listens closely. The several percussion instruments used also lend for a sense of rhythm not found in the original piece. Source: https://www.youtube.com/watch?v=3kAOz5huQg0

Remixer name: KAPIKYO Real name: Soleil Xavier Summers Contact Email: Game of origin: Sonic Advance Name of original arrangement: That's No Egg Source BGM title: Egg Rocket Zone The purpose of this arrangement was to realize the interpretation my younger self heard and how I now remember the song much later. It uses much nicer samples than the GBA original, makes use of thicker background harmonization than the GBA was ever capable of, and utilizes some nostalgic voice samples from the game to better punctuate certain phrases. The melodies, chord progressions, and arpeggios were transcribed by ear rather than ripping and copying from the original MIDI. While that would have been easier, I thought my method more appropriate as the intent was to realize an interpretation, not make a perfect recreation. Source:

This is wicked groovy, I love all of the clever modulations and twists you spun on the melody while still keeping things recognizable throughout. Also seconding everyone else who complimented your drums!

Psytrance is such an underrated EDM genre, and this arrangement clearly shows a lot of respect and admiration for many of its standard tropes - squelching acid basslines, frequent beat and bassline changeups, and absurd voice clips, all of which are surprisingly well executed. The transition at 2:53 into a triplet rhythm was slick and easily my favorite part of this arrangement. The transition out of that section, however, was really poorly done and had me wishing that the arrangement just ended at 4:00. The transition was so sloppy and really took me out of the flow that the rest of the arrangement had so carefully crafted. The lack of a clean fade on the ending is also sloppy but could be fixed even without the project file if Fungist is willing. At the end of the day, I don't see a need to sink this arrangement based on the superfluousness of the last 30 seconds when everything else is so solid. This has my signoff! YES

Gotta co-sign with the judges above - this gets by on the strength of its charismatic melody writing and energetic groove. However, I'm definitely picking up on a number of issues here - most severely, the mastering sounds REALLY loud and heavily compressed. This is super noticeable in the drums, which DJP did a great job of identifying the issues with. I'm definitely feeling ear fatigue from 1:27 on, and there's really no letting up from there til the end, especially since this mix relies heavily on bright, abrasive synths and drums throughout. The copy-paste to extend the arrangement was a bit cheap, but the sources were pretty smoothly integrated together, all things considered. I dunno though - with all my gripes laid out above, the good parts of this still feel like enough to win out in the end. I most agree with DJP's overall level of enthusiasm for the final result, but it's a YES in my book regardless. YES (borderline)

ReMixer name : Bortcle userid : 37429 YouTube Channel : https://www.youtube.com/channel/UCClpvAcUp3ph9em-VTAlQGA link to MP3 : Name of game : Arcade Pac-Man Name of Arrangement : You had me at yellow original songs : Pac-Man Arcade start-up and intermissions themes explanation : Actually, I am also inspired by the Pac-Man world 2&3 games' gameplay sound effects for making this remix, however the original start-up and intermission themes are what those are derived from anyway, so they still remain the clearly thematic arps featured in this remix. Thanks.

Contact Information ReMixer Name: GreatBlakes Real Name: Chris Blakley Email Address: Website: gearside.com User ID: 12312 Submission Information Game: Pac-Man Name of Arrangement: Vice Name of Song Arranged: Main Theme Soundtrack: https://ocremix.org/game/142/pac-man-arc Song: Additional Comments: My goal was to create a dark/gritty '80s retro future inspired half-time remix of the Pac-Man theme song.

Dropping some quick thoughts here - there's a ton of dynamics in your arrangement, great instrumental variety, and an emphatic vocal performance. It's clear that you put a lot of effort into this! I'm intrigued and a little amused by the discussion spawned regarding the vocal performance; I agree with the other judges that the pronunciation makes it extremely hard to understand, but MindWanderer makes a great point that if you imagine this as a J-Pop song, the intonation actually isn't a big deal. This could still benefit from some more aggressive pitch correction and de-essing. The mixing on the vocals is much louder than everything else and dominates the soundscape whenever present. You could still maintain the vocals at the forefront of the arrangement without drowning out everything else as much - taking down the volume slightly would solve this. The orchestral production sounds great when it's isolated on its own (strings, choir, and especially the piano) but when the vocals are also mixed in, your instruments all occupy a narrow range of frequencies and sound quite muddy. The percussion barely cuts through at all and sounds thin as a result - I don't think the choruses have the intended dramatic impact because of how soft the percussion plays. There's a lot of creativity at work here, so I sincerely hope this is revised and resubmitted a second time! There's a bit of work to be done here, but I think it's worth it to get this concept ready for the front page NO (resubmit)

Not a bad effort for recreating this from scratch without any formal training. You did an excellent job capturing the airy, organic essence of the original source tune through some unique sound design and additional rhythmic patterns. The contrast between the gritty distorted textures and filtered percussion, with the smooth pads and chromatic percussion is a strong textural foundation. Overall, I found this to be a pleasant listen! There's a few things holding this back, however. You mentioned that you "altered the high and low cut" but I think ultimately you went way overboard with these effects. Namely, there's almost no frequencies below 200hz in the entire mix between :20 until around 4:45, when you finally bring in low strings and you realize what's finally been missing from the rest of the arrangement. Selective use of a high-pass filter can add drama and air to your arrangement, but when you leave it engaged without any movement throughout the entire track, it cuts out an essential frequency band and leaves everything sounding incomplete. Not sure if this was a stylistic decision or an arranging/production oversight, but this is the first thing that needs to be addressed. Aside from that, your arrangement also stays fairly static for the the duration of nearly 5 minutes without any major changes in dynamics outside of the intro/outro. It leaves this arrangement constantly feeling on the precipice of breaking loose and ramping up the energy, but it never comes. The arrangement relies heavily on looped patterns and comes across as very repetitive - without any changeups or significant additions/subtractions throughout the 5 minute runtime, I feel like I've heard everything this has to offer by the 2nd or 3rd minute. Lastly, although this was recreated from scratch, the end arrangement is still pretty conservative and sticks very closely to the structure, melody, and presentation of the original source even with the subtle additions you've made. I would argue that, production issues aside, this is still too conservative for OCRemix standards. Adding some original writing or breakdowns could solve this issue and perhaps even help you address some of the other critiques about the dynamics of the arrangement, as well. You've got a solid start of something here, but there's some fundamental issues from a production and arrangement standpoint keeping this from reaching full potential and meeting OCR's submissions bar. Either way, you've shown some chops and I'd love to see where you can take things from here on future submissions! NO

Dear OCR, I'm writing to offer a submission for OCR, which has been attached, as an .mp3 file, with 192kbps as per the guidelines. The necessary details are as follows; ReMixer name: TheJGG userid: 37426 Game arranged: Donkey Kong Country 2: Diddy Kong's Quest Name of arrangement: Stickerbrush Synthmony Name of song arranged: Stickerbrush Symphony It was created entirely from hearing, and arranged without any formal sheet music knowledge. I spent a week creating it, and then altered the pitch and tempo, plus high and low cut. Thank you very much, TheJGG

Hi! I hope you are doing well! You can download the .wav here : Contact Information Your ReMixer name : Phil Savlem Your real name : Philippe Savoie-Lemay Your email address : Your website : https://www.youtube.com/channel/UCL8kKDW2KN2Y2ga6Bei8ndQ Submission Information Name of game arranged : Zelda - Ocarina of Time Name of arrangement : Gerudo's Masters Name of individual song(s) arranged : Gerudo Valley Theme Your own comments about the mix : My goal was to use all the musical instruments I own and blend them together to build something epic! Have a good day!

Hate to say it, but I have to side with the two nay's above me. The foundational beats and sound design are really tight here, and the vocal chopping specifically reminds me of In Love With a Ghost, which is a favorite lo-fi artist of mine, and you executed that style well. However, I agree with Larry that the piano tone particularly takes me out of the experience. The sample is slammed super hard on the compression and has a bright, unrealistic tone and a lack of expression in the velocities that just doesn't fit with the rest of the soundscape. Sadly, since this feature is so integral to the arrangement, it does end up being a significant detriment to the overall presentation. The repetition was also a bit of a bummer, but I did find sufficient personalization in the beats and additional harmonies added to the second half of the song so that repetitiveness wasn't a dealbreaker issue. My main gripe is really just with the piano sample/EQ balance, which may seem nitpicky but ends up being significant enough simply due to how present it is in the mix. Hope to hear this again with some minor revisions if this doesn't pass as-is! NO (resubmit!)

Just dropping a quick word that this blew me away. Easily one of the best things I've heard from you, the guitars and vocals add so much to your production. I'm excited to get a chance to evaluate this properly

Hello! Please find our Life Force - Poison of Snake remix. We hope you'll enjoy it! - ReMixer name: LHEH - Real name: Riad "Slinkman" Hajjar & Anthony "Antox" Nemer - Email address: - Website: https://soundcloud.com/lheh - User id: 37330 - Name of game arranged: Life Force - Name of arrangement: Poison of Snake - Name of individual song(s) arranged: Vic Viper Serum Life Force original 1986 soundtrack composed by Miki Higashino for NES & Arcade. We decided to go for a mixture of Rock & Dark Synth for the remix because it just felt appropriate for that specific boss fight. Many thanks! Cheers Source:

Contact Information ► Arranger name - Serjo De Lua ► Email address - ► Website - https://www.youtube.com/c/ClassicGameOrchestra/ ► Ocremix userid - 37324 Submission Information ► Name of arranged game - Batman NES (1989) ► Name of arrangement - Epic Orchestral Arrangement ► Name of individual arranged song - Stage 4 Theme 'Laboratory Ruins' ► Composer - Naoki Kodaka ► Platform - NES ► Release date: JP: December 22, 1989 NA: February 13, 1990 EU: September 14, 1990 ►Comment - Batman for the NES It's an outstanding game and Naoki Kodaka is one of my favorite composers of all time!!!

Your ReMixer name - Charlie Atom Your real name - José Carlos Peláez Lazo Your email address - Your website - charlieatom.tv Your userid (number, not name) on our forums, found by viewing your forum profile - 37354 Name of game(s) arranged - Undertale Name of arrangement - Heartache (Charlie Atom Remix) Name of individual song(s) arranged - Heartache Additional information about game including composer, system, etc. (if it has not yet been added to the site) - I got more than 2.5 million plays on spotify, played as DJ in EDC twice and toured on China. My songs got support by big djs like KSHMR, Don Diablo, Blasterjaxx, Breathe Carolina and more. Link to the original soundtrack (if it is not one of the sound archives already available on the site) - https://www.youtube.com/watch?v=xflkF-sqNaM&ab_channel=Misaki Your own comments about the mix, for example the inspiration behind it, how it was made, etc. - I want to make EDM gamer music, im trying to promote my name this way now. EDIT (7/18/23): We have an updated version in (with the title of "Toriel's Pain") from Charlie Atom: "Lower volume and added something new in the second part." referring to an added supporting part from 1:33-1:58

Remixer name: MusicallyInspired Real name: Brandon Blume Email address: Website: brandonblume.com Userid #: 10382 Name of game: "King's Quest VI - Heir Today, Gone Tomorrow" Name of Arrangement: "Sailing on the Vaporwaves" Name of individual song arranged: "Seagull Theme" Original composer: Chris Brayman Original Soundtrack: https://www.youtube.com/watch?v=HuxCWvWBfhc Seagull theme: https://www.youtube.com/watch?v=DU4Za2_fXZA (not included in above soundtrack link as it was only in the CD version of the game and not the floppy version) This was originally made for a community-effort King's Quest chillout remix album based on all the games in the King's Quest series. The remix follows the original theme but changes the time signature from 4/4 to 6/8 and features additional/alternate notation that's not in the original, though it follows the original melody very closely, which is what I love about the original song in the first place. It later changes the time signature and BPM trademark in vaporwave music to make it sound like a slowed down cassette tape or something. It's an experimentation in a genre I've not attempted before and I used some plugins that I don't normally use to get this sound. I'm very happy with how it turned out. Sounds very dreamy which compliments the relaxing nature of the original arrangement. It seemed like a perfect fit for this style and I was pleased enough with it that I thought it'd be a strong candidate to also fit the requirements for OC Remix. I hope you do as well. If not, thanks for giving it a listen anyway! -- -Brandon Blume

This is super slick! I don't really have anything to add to what DarkSim mentioned but I wanted to chime in and give this my thumbs up as a causal listener Would love to see this submitted to the site if you're keen to do so!

I'm finding myself in agreement with Brad - at first, I wasn't even sure how you'd attempt to arrange this, but I left my first listen pleasantly surprised at how you kept things recognizable and explicitly tied back to the original BOTW theme, even with so little to work with. I'm always impressed with how brave you are to tackle sources like this From an execution standpoint, I just don't feel like there's enough going on here. The soundscape is very thin and therefore exposes all of the imperfections in the sequencing. There's almost nothing in the way of low-end frequency for much of the arrangement until we get to the end of the arrangement, so everything sounds very skewed on the high end and the end result is not very lush. The high harmonic violin is also very shrill when it doesn't have anything to balance it out in the rest of the frequency spectrum, and Brad also correctly identified that the decay on the strings cuts off unnaturally. I think this functions well for what it is, but the soundscape is just too barren in my opinion to really maintain interest outside of a purely ambient/foley piece. I think there's absolutely potential to arrange a source like this, but I do think the instrumentation and tonal balance needs to be fleshed out more in order to achieve that. NO

I'm also throwing my hat behind the above two votes - the bassline definitely deserves at least partial credit for its relation to the source progression, even if it is heavily jazzed-up and far more frenetic than the original. I'm generally more forgiving on liberal arrangements in general and like to give the benefit of the doubt, but this is pretty clearly recognizable and stays grounded thanks to the bassline. Jazz, to me, is all about expression and interpretation, so I love how you chose to run with the hot/cold motif in your instruments. Your organ sample is dirty and carries the lead melody so well, but I also want to highlight some of the auxiliary instrumentation like the drums and bass, which are well-sequenced and full of life. The light synth pads that enter at 4:04 are also a highlight - they come in to cool things down at just the right time. Overall, this is a super-solid package from Markus, just as I've come to expect! YES

Well, this is... something! ? As much as I don't consider myself a polka aficionado, this sort of off-the-wall experimentation is exactly what OCR is about and has always encouraged. The arrangement is a ton of fun, I love the fakeout intro in the proper key before taking it somewhere completely different. The samples are serviceable but not going to be winning anyone over in terms of realism. The fast upward runs on the clarinet and strings are noticeably unrealistic, and in my opinion, the biggest gripe I have with this track overall. It sounds like it would have felt right at home in a Nintendo 64 game, but most sample libraries should have some sort of advanced articulation or legato that would smooth those out. I'm taking Brad's side on the drums - while they might be mixed a bit too far forward, the simplicity absolutely checks out for the genre so I'm not going to ding you for that. This may be delving into some subjective territory, but I don't feel like realism is necessarily a primary objective for this arrangement - polka is a naturally silly-sounding genre and the MIDI quality on the sequencing doesn't really have a huge impact on the overall product in this context. The actual mixing and production is competent and well-balanced, so at the end of the day, none of the gripes with sample quality are enough to override your incredibly creative arrangement. I'm willing to give this a pass, good luck with the rest of the vote! EDIT 11/20/2021 - Upon further reflection, the sequencing issues are more significant than I initially acknowledged, and this really could benefit from a second pass to smooth out the humanization, sequencing on the snare drum, and reduce the dryness of the overall mix. There's so much potential here so if this doesn't end up going your way, let's make sure this one gets back to the panel as a resubmission! NO (please resubmit!)