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Hello! I submit to you my remix of the main theme of the game "Metal Gear Solid" (PS1) which is composed by Tappy. My remixer name (and my real name) is Amaury Sabau. My email address is : My user id is 37398. I don't have a website but a Youtube channel that I just launched : https://www.youtube.com/channel/UCqZvWfhj4hXnfE_lahRiexQ Name of game arranged: Metal Gear Solid Name of arrangement : Solid Name of individual songs arranged : Metal Gear Solid Main Theme ; Mantis' Hymn ; The Best is Yet to Come. Credits : Original arrangements and composition : Amaury Sabau Scoring mixer and mastering : Maxime Marion Guitars : François Kukla Vocals : Lydie Berthet I spent my teenage years listening to Hollywood action scores. Trevor Rabin, Hans Zimmer and Mark Mancina were my pop stars. This remix is a tribute to these guys, but also to a kind of music that’s been part of my life for such a loooong Time. The remix is mainly using the music of Tappy's theme : https://www.youtube.com/watch?v=sD8HkzG-h08 It's developed in several parts : 1)The overture, combining orchestral and electronic elements, is an original arrangement. After a few seconds, it introduces MGS main theme with an electronic vibe (0:55-1:10). 2)Then, the theme is displayed in an orchestral and anthemic version, « 90’s Hollywood action scores-style », with the guitar of my collaborator François Kukla (1:10-1:43). 3)The track goes darker, and introduces the theme of Psycho Mantis in a massive orchestral and choral version (1:44-2:17). Mantis Hymn, original version : https://www.youtube.com/watch?v=eMasLUmBzkc&t=114s I wanted to remind the listener of the fearlessness of Mantis, and how dangerous he is. 4)The next part is an original arrangement of the beginning of the song "The Best is Yet to Come": https://www.youtube.com/watch?v=6miaTf1gF4g with the voice of my collaborator Lydie Berthet. (2:17-3:48) This song is one of the highlights of the soundtrack, and I wanted my arrangement to keep its dramatic and elegiac signature. I added a bulgarian choir to back up Lydie’s beautiful voice, building in intensity, and leading to the finale of the track. 5)The main theme comes back, first in a dramatic form on piano, accompanied by vocals and sound design. It then evolves to glorious and solemn territories, with additional guitar and vocals by François Kukla and Lydie Berthet. (3:48 to end). For your information: I initially made a longer arrangement (7:47) but I thought it might be a bit too long for listeners. So I edited out 2 minutes of action-oriented music in order to keep highlights only. If you’d be curious to listen to the extended cut of the track, please let me know! A word from Maxime Marion, the scoring mixer : I’ve been working with Amaury for many years now. He’s been the composer on several animated shortfilms and webseries I directed. I love his way of working, doing every project with commitment, craftsmanship and enthusiasm. When he submitted to me his very first demo of the MGS remix, I knew I wanted to be part of it, help him on the mixing and production. I also immediately thought « Overclocked Remix ! » I’ve been a regular visitor of the website for the past 20 years, and thought that, maybe, this remix would find a warm welcome here. There it is! Sorry for this exhaustive explanation. I hope you will enjoy this track as much as I enjoyed producing it! Best regards! Amaury Sabau Sources: Main Theme: https://www.youtube.com/watch?v=sD8HkzG-h08 Mantis Hymn: https://www.youtube.com/watch?v=eMasLUmBzkc&t=114s The Best is Yet to Come: https://www.youtube.com/watch?v=6miaTf1gF4g

All right, let's knock the form stuff out. Your ReMixer name: 227 Your email address: Your website: https://jdoes.art/ Your userid (number, not name) on our forums, found by viewing your forum profile: 17063 Name of game(s) arranged: The Legend of Zelda: Link's Awakening (the Game Boy original, if that distinction matters post-remake) Name of arrangement: Ballad of the THIEF Fish Name of individual song(s) arranged: Ballad of the Wind Fish Your own comments about the mix, for example the inspiration behind it, how it was made, etc. Used to be a lurker back in... 2003? 2004? Something like that. Signed up in 2007, apparently, before disappearing for a decade. I relate to that "making it an exercise" bit in the FAQ a lot these days; after a decade or so spent largely away from music, I've been making another go of it lately on Youtube and my go-to method of practice is making songs using just one random thing. First, I made a song using only the audio recorded from a hand puppet. Then a Taco Bell cup. Then movie dialog. This is my fourth random-limitation song, made only with the audio of Marin singing Ballad of the Wind Fish on a Game Boy Color, captured through the headphone... port? Jack? Anyway, so I grabbed the audio from the headphone hole, layered it (and used PaulXStretch's granular craziness) to turn it into a bunch of other instruments, and then made a soundfont out of it for super flexible and CPU-light drums. Everything else went into the free Vital synth's sampler to tweak and distort in various ways. So all the audio is from the Game Boy. While I originally put this together for my Youtube channel (the video should be up sometime on June 11th and include some video that goes over the process: https://www.youtube.com/watch?v=8nFU37T6MmI), I don't remix things often and OCRemix popped into my mind. Figured I'd give it a go. Have a good one, person-reading-this. Source:

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: Donkey Kong Country 2 Name of arrangement: Dancing Bossanova Name of individual song(s) arranged: Boss Bossanova Your own comments about the mix, for example the inspiration behind it, how it was made, etc: One of my personal favorite tracks from the DKC trilogy since childhood. Haven’t seen many remixes of this song so I wanted to create my own dance version of the song for DKs 40th birthday since dance remix of game music is what I do. Source:

Remixer Name: LemonheadVGM Real Name: Philemon Holmes Website: https://lemonheadvgm.godaddysites.com/ https://twitter.com/HolmesPhilemon User ID: 36968 Game Arranged: Kingdom Hearts: Birth By Sleep. Name of Arrangement: Dismiss (Chinese Remix) Name of track arranged: Dismiss. Information about the mix: I went through a case of buying a bunch of different sample libraries that I got discounted, many of those being Chinese instruments. However, I found myself not really having a purpose for them. That made me think "When am I ever gonna use these?" At the time, I had just beaten the Terra-Xehanort fight in BBS on critical mode to unlock the secret ending, so the battle track was still in mind. That's when I decided that I'd make a remix of Dismiss with traditional Chinese instruments, which would allow me to both be very creative with a track that doesn't have many remixes and justify my excessive purchases.

Hello OCR Team, this is my first submission, so I hope I got this right. Remixer Name: sui Profile ID: 24063 Game: Final Fantasy VI Name of the arrangement: Daughter of the Lands Name of the original song: Terra's Theme Production comments: I originally created this arrangement as a gift to a streamer who was embarking on his first playthrough of Final Fantasy 6. The arrangement is rather straightforward with custom counterpoints here and there and a short Prelude cameo (it just goes with everything). My main goal was not to create an exotic arrangement just for the sake of it, but rather to do a proper orchestration of a familiar theme with good voice leading through all instruments (though I purposefully kept the bass line and thus the chord progression untouched), attention to detail in the MIDI automation and hopefully decent production values regarding instrument quality and mixing. I also tried to build a certain story line: The first part is Terra being alone an uncertain world, the middle part is her finding heart in her friends and thus a new beginning (hence the Prelude excerpt), and the last part is her traveling the world with confidence. On a more technical note, the strings are placed in German seating order, so from left to right it's first violins, cellos, violas and finally second violins, with the basses sitting behind the first violins to the left. This is my favorite seating as it allows treating the first and second violins as more separate voices and enables spatial effects like the panning effect of the tremolos at the beginning. All in all it was a great learning experience and I'm rather satisfied with the final result. I hope that despite the plain arrangement you will find it sufficient for posting. Kind regards Alex Source: https://www.youtube.com/watch?v=a6t_uyg_pF8

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