Emunator

Hey there, Remixer name: Jorito Real Name: Jorrith Schaap Email: Website: http://www.jorito.net/ Userid: 3917 Drums performed by Erik Vreven Submission information: Name of Game(s) Remixed: Vampire Killer Additional Game information: System: MSX2 Developer: Konami Genre: Platforming Released: 1986 Composer: Kinuyo Yamashita, Satoe Terashima (Please note that though there are a lot of resemblances to the NES game Castlevania, this is actually a different game) Name of Arrangement: Wicked Chip Names of song arranged: Wicked Child (https://www.youtube.com/watch?v=7Rp19k4-Qlg) Comments about the mix: My drummer friend Erik wanted to create a Drum 'n Bass-ish groove for Vampire Killer's Wicked Child song by using the original game song and adding live drums and some sub bass to it. I thought we could do better and started remixing the song from scratch. As always things got out of hand and it turned into a groovy chiptune DnB combo with live drums and vocoded voices. This track took a looooong time to finish; we started it in July 2014 and it was finished only in March 2015. I guess that’s what happens when real life catches up with you and puts you out of composing business for 6 months. Still, the track benefited a lot from this seasoning and the helpful feedback in the workshop forums and for a first try at something chiptuney I’m rather proud of it. Cheers, Jorrith Source (first song in video):

I wanted to panel this one because I remember Nyx had this marked as Mod Review but never got any staff feedback, and some of the artist's comments in Workshop thread came across defensive to me, so I felt it appropriate to send this here to give some more feedback. To me, this feels highly conservative and doesn't introduce very much original writing or ideas to the melody, though the few harmonic variations and the overall mashup of the two sources does have some merit by OCR standards. Using the drum loop and the "birdcussion" as a sample is cool, though I feel like you mixed the metallic percussion kind of loud during the transitions - for example, the fill at :38 is startling and out of place, to me. The metallic loop sounds really nice when it's mixed lower and more in the background. The delay effects are well-used and help give the track more texture and movement, I like how you utilized that. Production-wise, the samples and synth design are not very exciting and introduce very little texture to the mix. Experiment with some more interesting synth sound and fills and effects - Skrypnyk and Timaeus gave some really good feedback in the Workshop thread. The arrangement sticks very close to the structure/feel of the original, and there are some sections where you have a lot of countermelodies playing but no lead where it just feels aimless. Sorry to say, this track just isn't working for me on a lot of levels My guess is that, by this point, you've moved onto other projects and I already know you've improved your craft with more recent remixes, but I wanted to make sure you received more validation on the feedback you received in the Workshop thread because I feel like they were very good critiques that still apply to the final submitted version. I'm excited to see what you submit to us in the future NO

Contact Information Nick: NyxTheShield Name: Felipe Montero Email address: Website: https://www.youtube.com/user/felipe95951 User ID: 53205 Submission Information Name of Game: Donkey Kong Country 2: Diddy Kong's Quest Name of Arrangement: The Forest of Melancholy Name of individual song(s) arranged: Forest Interlude and Mining Melancholy Comments: David Wise has always been one of my major inspirations, as a child i had a SNES, by luck i was able to play most of the classics of the system (TLoZ ALttP, Mario All Stars, ISSD), but Donkey Kong Country was one of the few games where i would just pause it for a couple of minutes just to hear it's music. Consider this remix and mashup as a tribute, i hope you enjoy it. Download Link: If the link doesn't work by any chance, the song is attached as well, thanks in advance. Sources:

Haha, vaporwave! I never thought I'd see this on OCR. Kudos to you for submitting something totally unique and obscure. On first listen, my gut told me that this was a pretty cool piece that wasn't really working that well out of context... I checked out your Soundcloud and I think that confirms my suspicions. This works pretty well in the context of your SimCity album but on its own, the track doesn't really have enough length or development to work as a one-off track. Almost 2/3rds of the track is spent on the same ambient loop before you begin to progress anywhere. The track is very lo-fi and hazy, which is obviously an A E S T H E T I C choice that was entirely deliberate, but I can see how some judges might be turned off by that entirely. In my opinion, though, if you were to develop the arrangement a bit more and introduce more of a structure, you could actually be on the verge of something passable. Right now, there's just not enough substance for OCR standards with regards to the arrangement. No matter how this goes or whether or not you choose to resubmit, I enjoyed this! NO

Your ReMixer name - テクノ資本主義NOSTALGIA Name of game(s) arranged - SimCity (SNES) Name of arrangement - ytiCmiS Name of individual song(s) arranged - Title Info: This is part of a larger piece which aims to accurately portray what it sounds like to exist as a citizen inside the SimCity cartridge. My guess is that it is an agonizing life of purgatory, punctuated briefly by moments of bliss. The original title for this song, then, is 'Hope' because the cartridge has been engaged and our citizens' world will be brought to life on screen - but for how long? Source:

Rad! This shares some similarities to this remix by The Distortionist but I think your more relaxed, acoustic focus helps set it apart nicely. Your guitar skills are impeccable, and despite the fact that your mix feels somewhat conservative, the harmonic variations and fills are enhancing the original writing in subtle, but very important ways. And that solo is killer! Overall, this is really doing the trick for me, even though this source and this style have been done several times before by some very talented people. The acoustic guitar outro sounds a little rough to me, I can't tell if maybe something is a little out of tune or if you've got too many different guitar parts and things just aren't lining up quite perfectly... or maybe my ears are just going bad? It's tough for me to tell, anyone else have any insight on that? Also, that fadeout happens very quickly and doesn't sound great in my opinion. There's some significant distortion in the first 45 seconds, particularly starting at :30. I'm hearing it very noticeably on headphones. Tentatively, I'd be okay with signing off on the rest of the track but I feel that the distortion is distracting during that section and should hopefully be easy enough to fix. YES (conditional on distortion fix from :30-:45)

Hello! I recently had my tracked approved by the mods on the OCRemix forum so here is my submission! ReMixer name - ToxicxEternity Real name - Jack Fliegler Email address - Website - Facebook.com/ToxicxEternity Userid - 54468 Name of game arranged - Donkey Kong Country Name of arrangement - Aquatic Shrediance Name of individual song arranged - Aquatic Ambience / Coral Capers Original track - http://youtu.be/wAPpVplHiDE My Remix (also attached) - Comments - I've been doing metal remixes of video game songs for a while and they usually turn out pretty intense and heavy. With this track, I was looking to step out of my comfort zone a bit and calm things down using an acoustic guitar and a more ambient soundscape. I had a lot of fun recording these parts because it's very different than what I usually do.

Just to clarify, I wasn't implying that Zack was intentionally cribbing on another artist's work... this arrangement and style is very much his own! I just found a lot of the same qualities and emotions that I feel when listening to Joe Hisaishi's work also applied to this remix. I meant those comments with the highest order of praise in mind! I'm with Jeremy - it takes a lot to impress me with an orchestral arrangement these days, but this is one of my favorites. Extremely well done.

Easy call here. There's a huge potential for a remix in this style to fall back on a single gimmick without really fleshing out the bones of the track itself. I'm happy to say that's not even close to the situation here - you've done an incredible amount of work on the bass & synth programming and general sound design, so that even when you take the vocals out of the equation, you're still left with a rock-solid remix that stands on its own merits. It certainly helps that the vocals are also well-integrated and hilarious, even for someone who doesn't understand the context. This is oozing with personality, and I think the masses are going to enjoy this a lot! YES

Unfortunately I have to cosign with the above two judges - no disrespect intended to your concept or the quality of the execution, and thankfully I know that neither of you will be discouraged from contributing in the future because of this, but the arrangement structure just isn't what we're looking for. Looking forward to more collabs from you guys in the future, though! NO

Wow! Random Hero, it's been a while! I've always been a fan of how conceptual your tracks were in the past, this one is certainly no exception. Just a few quick thoughts, I'll come back and write up a vote later because I'm not sure how I feel... Strong concept, execution is more of a mixed bag. The hi-hats feel really loud. Source is there. Not a fan of the sequenced harpsichord/synth guitar, string sequencing is good in some places but the longer staccato melodies feel fake. Leaning towards resub, but I'll touch back on this later. ???

I can't get enough DS Castlevania action. Love these games so much. This mix is very solidly conceived, I'm digging the juxtaposition between the gothic-style bells and strings that have become a trademark of Castlevania soundtracks, and the grungy, distorted garage rock instrumentation. It's an unconventional blend on paper, but actually feels quite natural the way you executed it. The string sequencing was a highlight, it's actually pretty tricky to sequence orchestral lead instruments in with live instrumentation and still maintain the illusion of realism, but I think you struck a nice balance here. Nice work. I feel like you might have gone a bit overboard with crunching your drums, but I get the feeling it was done intentionally so I can look past that. Other than that, I can't find much fault with this arrangement. Pretty easy pass in my opinion! YES

This is definitely not a direction that I'd ever expect Dragon Roost Island to be taken in, but I guess it's inevitable that all Zelda music will be dubstepped at some point I'll admit that the melody actually translates reasonably well to dubstep, so props on the adaptation. Your mixing is solid enough - I'd say on a production level, this could definitely be passable. The sound design is the most problematic part of this remix, in my opinion. The textures of the track rarely change up, and you rely very heavily on a similar set of synth patches that sound very monotonous over the course of 4 minutes. There's very few changes in timbre throughout the track other than a few transitions. The arrangement is also heavily repetitive - the second half of the song is basically just a loop of the first 2 minutes with a few minor adjustments... past the first half of the song, there's no surprises and nothing to justify the length. The concept is alright at its core, but there's not enough here to justify the length of the track. Needs less repetition and more development. NO (resubmit)

This track is a match made in Duck Heaven!!! Everything about Will's signature 80's synth-rock sound gels just perfectly with this iconic source, and I'm honestly surprised it's taken him this long to remix this. It feels so natural - this entire arrangement is so triumphant and powerful. There's really nothing in here we haven't heard from Will before, but the natural synergy between the source tune and Will's typical style makes this remix feel completely justified and enjoyable, if not exactly groundbreaking. Love it, bro Good to see you submitting again! QUACK

Pretty cool cover, I can see this finding a lot of attention and praise on Youtube on its own merits. Your production and performance is very cool, but unfortunately, with regards to OCR standards this is pretty much just that - a cover. I'm not hearing a lot of interpretation or development over the source past the genre adaptation. The track is also very short - at 2 minutes, I really don't want to be hearing much repetition whatsoever and this track basically repeats itself a second time with a new set of rhythm guitars and drums. Need to hear more development and original interpretation/writing in order for this to be considered for OCRemix. No hate on your track meant, it's a great cover but unfortunately not really what we're looking for! NO

There is so much potential here, you clearly have some excellent production chops but the structure here isn't totally working. I personally am not a fan of how the "club mix" structure was applied here, it's jarring to have the song start off so loud and then break down into 30 seconds of ambient noise. I agree with Kris that this would work better if you sliced off the first 30 seconds of the track and saved that for an extended club mix. Just my two cents! The source is very minimalist, though I recognized it instantly because I've spent probably 300+ hours in SA2 in the Chao Garden, so it was actually a great surprise to see this remixed! You keep the main riff throughout your remix, and the tubular bell/chime hits also allude to the source, so no problems there. Your production is ace here, I love that big booming kick, and your synth design is well done. The ambiance is really cool, too. I'm not sure how you got those tones but it sounds very futuristic and interesting. The section at 2:15 was downright exceptional. It's almost jarring to me how much better that sounds - not that the rest of your track isn't good, but that section is far and away the best part of your remix, and unfortunately it kind of makes everything else sound worse by comparison. Some additional ear-candy during the rest of the track would help bridge that quality gap. You rely on the same dropout transition before every verse, too, which becomes noticeable on repeat listens. I would highly recommend changing those up at least a couple of times throughout the track. This is something I could see myself listening to and enjoying on a personal level but this would sound so much better with a less-random structure and more variation in your transitions. I don't think this is quite ready for primetime on OCR yet, good luck with the rest of the vote! (edited below)

Groovy! I like your sound choices here, very smooth and genre-appropriate. You've got a nice adaptation going here. Sound choices are great, your production is on point. The mixing sounds super clean on here... too clean, in fact. It sounds to me like I'm listening to an unmastered version of the track - a little master compression would help this track shimmer and really thump like it ought to. My biggest beef with this is the repetitive nature of the track - it seems like you go through 8 bars of the melody, have a drop-out transition, and then go right back into the same structure several times throughout the course of the remix. For a track that's only 3 and a half minutes long, there's an awful lot of repetition. To your credit, each pass through incorporates new solos and synths, so it's not repetitive in that sense, but the structure feels like it retreads the same territory over and over again, especially because you rely on similar transitions and chopped sound effects throughout the track. A more pronounced breakdown/buildup or solo section would help break things up. I could definitely see this passing with another round of revisions, it feels like this is about 75% there but I'm not quite sold on the arrangement or mastering at this point. NO (resubmit!)

Damn, those rhythm guitars! This is a pretty straightforward metal cover that rises above the crowd because of your awesome technical performances, well-chosen guitar & synth tones, and pristine production. We get a LOT of submissions in this style so it's easy to blend in with the crowd, but fortunately that's not the case here. Just enough variation and original writing sets this apart from the source and elevates it out of "cover" territory, but still leaves the best parts of the source intact and amplified to enjoy in all its glory. Nothing more to say, you guys nailed it! YES

Ouch, Kristina pretty much nailed this vote so I'm not going to do much more than cosign here, but the low-end rumble is absolutely crushing certain parts of your track. I actually really admire the intent, I think it's great when artists go into a track with a particular motive in mind and then use their tools to allude to that concept, but in this case it just comes off as a bad production choice Arrangement-wise, you have some good ideas and a solid enough structure, but the lack of changeups on the instrumentation makes this tedious to listen to for nearly 7 minutes straight. The piano is a great foundation, though the sample you used is not the most realistic, but I think you need to experiment with other sounds to flesh this out and give it more variety. It's too repetitive to work like a solo piano track would. Cool work on some of your delay effects, that shows a lot of promise! This definitely needs a lot of cleanup and expansion before it will be ready for primetime, but keep working! Even if you move on from this track and onto something else, you've got promise and a good conceptual approach to mixing. Best of luck! NO

I'm seriously impressed by how you took one of the less-memorable sources from the Chrono Trigger OST and adapted it into a very unconventional genre in a way that totally works. I'm shocked, but you did good picking an appropriate style to work this into and fitting your production style to that aesthetic. Awesome guitar tone, and the noise effects really drive home the primal feel you're going for. You stick pretty close to the source for the most part without too many surprises, but the transition to double-time melody is a lot of fun and there's some neat bass soloing to break things up. Everything else about this is clicking for me... but the 30 seconds of hard panning on the intro (and a few other times throughout the is literally impossible for me to listen to on headphones without it being painful. Am I the only one with grandpa ears that can't deal with hard-panned audio for more than a couple of seconds, or is that bothering other judges too? I'd be totally cool signing off on this but I literally can't listen to this song via my preferred listening method without getting a headache Also, your song cuts off abruptly at the end - that'll need to get fixed for sure. Other than that, I dig it! YES (conditional on panning and cutoff ending)

Contact Information · Your ReMixer name Michael Lochlann · Your email address Your website www.MichaelLochlann.net · Your userid (number, not name) on our forums, found by viewing your forum profile53272Submission Information · Name of game(s) arranged UHHHHH FRIGGEN CHRONO TRIGGER · Name of arrangementPrimitive Man · Name of individual song(s) arranged Primitive Mountain Additional information about game including composer, system, etc. (if it has not yet been added to the site) Composed by my Man Yasunori Mitsuda Your own comments about the mix, for example the inspiration behind it, how it was made, etc. I don’t even like the original song (that much) but it came up on my guitar practice playlist and the bass part sounded awesome when I droptuned my 7th string to A to play it. A week later, here is the song. I tried to make it in the vein of Belzebong, one of the best doom metal bands. I chose the title both because it fit the original song and because I feel like doom metal is really about that, our anger, lust and fight, the things a man unchained from society would really be about. (I know I submitted the last one a few days ago, but both tracks are done and I wanted to send before I forgot about it. SORRY. OR NOT SORRY. ) Source:

Wow. I can't remember the last time a remix had this much of an impact on me as a listener. This mix ascends to new heights for an artist who has already has an incredible catalog of previous works under his belt. In my opinion, this is melody's magnum opus - a rich, colorful interpretation, skillfully produced, performed, and arranged in a way that perfectly captures the true spirit of an incredible source tune. While the main highlight here is certainly Peter's dynamic, emotive soloing, this is worth another listen or two just to pick out all of the minute details in the backing instrumentation. By the same token, it's also very easy to throw this on repeat, let yourself get lost in the swirling, delay-laden atmosphere and just enjoy the vibe. This is an excellent example of a remix that can resonate with listeners on many different levels. Truly remarkable. The only reason I paneled this was to do a source check for sanity... The very long extended solo sections cast some doubt about whether there'd be enough - certainly this track gets very noodly but the choir helps throw some recognizable Corridors of Time usage during those portions that I think push it over the edge. I could see how there could be some variance in opinion with other judges. 0:00 - :10 - [10s] :30 - :46 [16s] :46 - 1:20 [34s] 1:26 - 1:37 [11s] 1:45 - 1:56 [11s] 2:46 - 3:12 [26s] 3:16 - 3:47 [31s] 139s / 236s = 58.4% (very rough timestamps but this is well over the bar for me.) YES

it's been a while, good people at ocr! like for most people playing through chrono trigger for the first time, reaching zeal was breathtaking. its disconcerting ethos, and the wonder of a fantastical city suspended above the clouds, were perfectly captured by a rookie mitsuda in his seminal 1995 soundtrack (of which the 19 oc remixes of corridors of time alone are inarguably a testament to). in my mind, the island of zeal's vertical positioning with respect to the earthbound ones was/is an elegant metaphor for the social stratification present in trigger's era of antiquity. that image went a long way as i constructed this homage to a composer who has greatly influenced this small voice in a great sea of admirers. appreciate your consideration! - melody source (you don't need this): https://www.youtube.com/watch?v=bNzYIEY-CcM remix: remixer name: melody real name: peter kim website: www.facebook.com/intheori userid: 29447 game: chrono trigger name of arrangement: stratification name of song arranged: corridors of time

This is quite ambitious for a first submission, bravo on the effort! I think a lot of listeners would enjoy this for its merit, your soloing generally works well with the source tunes and you introduce a lot of creative ideas here with your guitar effects, original riffs, etc. The solo section at the end of the Astral Observatory section was sick, probably my favorite part of the song. As far as OCR submission goes, this is not really what we're looking for. Though there are some common links between each section, for the most part this feels like several disparate parts that don't transition very neatly into each other - it feels like an collection of distinct songs. In order to tailor this more for OCR submission, if that's what you're interested in, I would suggest honing in on one or two of the ideas that you feel fit the best and fleshing those out into a full song. There's definitely a place in the VGM world for a track like this but it's not particularly what OCR is looking for. Generally I felt like your performances were a little on the sloppy side, and the drum sequencing didn't always fit well with the rest of the instrumentation (for example, the drums in the Astral Observatory section feel spastic and don't really fit in line with the rest of the instrumentation. The drums at 6:00 - 6:10 feel like they have a swing to them that doesn't feel right, too...) A lot of this is probably just a result of inexperience, I have no doubt this is something you can smooth out with more practice, but there's a lot of wrinkles here that could be ironed out with more polish. Personally, I'd suggest leaving this track as is and chalking it up as a great learning exercise. You've clearly got chops, but I don't think you're quite there yet! Good luck! NO

Montr3uil Laurent Montreuil 54365 Sub, info The legend of zelda: Majora's mask Arrengement Name:«The Link between the grief» <--------- ( you can look on google how the 5 stages of grief are actually in the game) Medley featuring: 'Deku Nut's Palace' 'Song of Healing' 'Astral Observatory' 'Oath to Order' ''Calling the Four Giants' 'Clock Town day 1-2 (a little of both) This is my first submission here, but also my third arrangement ever( if you look closely you can almost see the actual progress of my knowledge as the song progress xD, in terms of composition and the use of virtual instruments). I wanted to post my stuff here because I knew it would be a challenge to deliver something that needed higher standards of quality and this is why I've dived (or faceplanted) in the world of mixing, Eq's and compression, in the hope of delivering something a little more polished and somewhat professional, I probably failed but hey, thats how it is. As for the composition, I tried to keep the best of the original, and tried to increase its awesomness by not modifying the original structure too much but also by adding different instruments and riffs for the guitar,also solos, lots of em.