Emunator

Thanks for the reminder, I've actually had all the files converted and tagged sitting on my HD for the last month, but I haven't uploaded them anywhere. I'll jump on that soon, but there are several other projects in the queue ahead, so it might still be a while.

https://app.box.com/s/3j6qj5vqkr07dy7simoptf0j97zw30gq Mak sent me this version, what do you guys think? I can't take a critical listen but at first glance, it sounds better... too quiet, if anything! Will revisit later.

https://soundcloud.com/zack-parrish/bowser This is the track that Purplecowadoom is referring to, and it's excellent! I agree, the source definitely deserved the remix treatment.

This is too much fun! Love the source, and like DarkSim said, you maximized its potential with modern production sounds and a lot of cool effects that wouldn't have been possible back on the SNES hardware. Very faithful, enjoyable rendition that's brimming with personality!

This is actually a source that I am familiar with... I spent a lot of time playing Yu-gi-oh! when I was younger so it's a pleasant surprise to hear this remixed, and in such quality fashion, too! This is definitely one of the more successful electronic/ethnic fusions I've heard on the site.

Excellent use of panning/glitching dude I totally agree, those X-Naut arpeggios are instantly recognizable and lend themselves to a lot of different applications. Very cohesive arrangement, I like it a lot!

This is a surprisingly personalized, detailed, and evolving remix! At first listen, I was concerned about the arrangement sounding too same-y, due to the fact that it's all based on a pretty consistent 4-on-the-floor beat and a pretty simple chord progression. It took a few listens to really appreciate how detailed your arrangement was - there's tons of synth flourishes, beat fills, and the excellent soloing mixed in with the Skull Man source. The additive approach to arranging paid off really well - by the time the track was over, I found myself lost in the groove and really enjoying the little touches you scattered throughout! Deceptively well-crafted, it took me a bit to fully appreciate it but I like this! Production is on-point to match - the only issue I had was the loudness of the sub bass in the first few seconds, but it's such a minor gripe. Everything else about this is well-polished. Great work. YES

Hello guys, this is Showroom Dummy again. Remix name is "Chipped Bone" Original is Mega Man 4 Skull Man stage. My direction with this mix was to make funky house. I played a lot of melodies of the song on my keyboard so there is little copy paste including bassline and the others . My mission was to make a song more complex with time, so after first section it breaks time signatures, extending phrases and many solos. I always want to surprise with the arrangements I make, but I keep the chiptune element in all my work. My favorite is the bassline I put much work in! I hope you enjoy Sorry for any bad english, it's translated. Source:

I agree, there's a lot of untapped potential in the House theme from Link's Awakening and I think you did a nice job exploring a lot of the different possibilities here! Your piano sample is very nice quality, very soft and appropriate for the mood you're conveying. The arrangement itself has strong dynamics, with a very natural ebb and flow as you transition between softer and heavier sections. Your track starts off strong but unfortunately the fact that this is a sequenced piano becomes readily apparent as the track goes on. It seems like there's some unnatural velocity patterns that start to appear throughout the track, but the bigger issue I'm hearing is how rigidly quantized all of the notes are. Not even the most technically-adept pianist would be able to play the notes this accurately to the metronome - you need to loosen up your timing to achieve a more natural flow. Right now, the note timing is just not convincing enough and unfortunately saps a lot of the life out of a very spirited arrangement. There's a rendering error at 4:00 that you need to fix, too! I have no issues with the arrangement or the writing itself but the stiff sequencing is not doing justice to your writing. Experiment with some less-hard quantization and introduce some timing adjustments so that it sounds more humanized, and I think you've got a winner. Good luck! NO (resubmit!)

ReMixer name: Deedubs Real name: Mike DeWeese Email address: User ID #: 52934 Game arranged: The Legend of Zelda: Link's Awakening Arrangement Name: Home Is Where the Hearts Are Song arranged: House Whenever I think of a video game tune that brings nostalgia, the "House" music from Link's Awakening seems to bring all the warm memories of childhood back to me. I first played Link's Awakening as the holiday season was coming around, and in coastal Northern California, it would rain a lot during late fall and most of winter. Rain would be falling outside as I'm playing the game on the Super Game Boy. In game, shortly after walking into one of the houses of Mabe Village, I would just stop and listen. The music that played sounded so peaceful along with the rain that was falling outside my house. I often think of calm piano music as rainy day music, so I wanted to give "House" a good piano treatment, inspired by a few tracks from the Final Fantasy IV piano album. I used Cinesamples Piano in Blue for this track because I feel it very much exemplifies the intimate feel I was going for. The arrangement title is a reference to Link's house in A Link to the Past. Thanks! Source: https://www.youtube.com/watch?v=S48yGfAksC8 -------------------------------------

I paneled this because there's a lot of cool interpretation to the performance here, it's very dynamic and expressive, but I'm concerned about a couple of things. First off, the recording quality has a HUGE amount of white noise in it. Way more than I would be comfortable passing on any piano mix. Perhaps this is something that could be fixed up in post-production with some help, but right now this track is DOA because of the excessive noise levels. There's some parts of the performance itself that I'm not totally enjoying, either. The transition at :50 was weak/non-existent. The section from 2:25 - 2:40 felt very out of place - I see where in the source you derived it from but honestly, that part just didn't sound good to me. Overall, the performance was a bit sloppy overall - maybe it was an intentional style because the arrangement is very carefree and loose, but I think the performance could have been tightened up, too. Personally, I still don't think this would be a pass due to sloppiness of transitions and overall performance even if the recording quality was fixed up. I thought there were some very solid, creative ideas here, but I wanted to see what the rest of the panel thought. NO

Title: Kremlings Sonota Original: Gang-Plank Galleon. Game Donkey Kong Country - SNES, author: Leandro Abreu Source:

Love how you tease the source tune with your opening ambiance without explicitly jumping into it. Cool textures start things off, though I wasn't a fan of the first synth that came in... that patch just felt plain. Your first lead at :59 was a lot better, I agree with Chimp that it was quiet but you obviously took a lot of time to write an expressive lead line. When everything kicks into full gear, the mixing is a bit... cacophonous. LOTS of midrange frequencies are getting jumbled together and there's very little clarity in those sections. The dynamic contrast between the lighter sections and those is great, but you need to clean up those passages significantly. Chimp is right about the ending too, I think there's a lot of potential to wind the track down in a more gradual, interesting way, but you missed that opportunity here. I'm not totally sure how to feel about this - maybe I'm being too harsh because this is such a frequently-mixed source, and you do have some great ambiance to give this some personality, but the conservativeness of the writing and the generic backing synth patches just don't really catch my interest here. I think with some work you could potentially have something passable on your hands, but there's definitely a lot more room to personalize and give this your own unique flavor, too. NO

This is a very cool stylistic homage that really doesn't get touched on very often, I think this is something that listeners are really going to appreciate. It's a smorgasbord of horror-soundtrack tropes that's arranged in a very clever way. I love the instrumental variety here, as well - you utilize a lot of sounds that aren't often heard in remixes. It's all very fresh. Diddy Kong Racing gets way too little love, too, so it's wonderful to see more people tackling this excellent soundtrack! My only real gripe with this track is the weakness of the drum kit. I absolutely get the style you were going for with that section, but the weakness/simple riffs of those drums make that section feel somewhat underwhelming. I really can't justify rejecting such an otherwise-strong arrangement on that merit alone, but I do feel like it's a weak link that's worth pointing out. Mastering the track with more compression might have also helped there. Other than that, solid stuff! The mixing gets the job done and the one real gripe that I have doesn't significantly detract from everything else you've gotten right with this arrangement! YES

I'm falling a little bit between Larry and Chimp on this. I personally wouldn't be as generous as her, but I think I enjoyed some of the subtleties of your arrangement more than Larry. At the core, your beats are pretty neat, although they do ride the same grooves for a while I think your beat writing is interesting, especially the hi-hat and kick rhythms. It's a cool adaptation and I felt like there were enough breakdowns that it didn't feel too static, even if those breakdowns didn't last very long. This track is very close to the original source, melodically, but the adaptation to dance style earns you some points. It's a conservative arrangement, but you've got enough going on to differentiate this from the original. The arrangement was repetitive and toward the end it did feel like you were just treading water, but I didn't find that aspect of the track to be a dealbreaker. I'm not a huge fan of the synths that Larry critiqued either, but I didn't think they were that bad! I'll agree that the sound design is underwhelming, but for the most part it works for the style you're doing, and everything is pretty cleanly articulated and sequenced. Mixing is a little troublesome, easing up on the compression and taming your bassline would give this a bit more breathing room. Maybe lower the volume on your hats just a touch. I actually feel like this is really close, I think you've got a lot of solid feedback to go off of from the judges above and I'd love to see what you can do with that input to improve this and hopefully tip it over the bar! NO (resubmit!)

This is a cool sounding mix on its own, pretty well-produced with nice sequencing and sample quality. The only thing that sticks out to me is the unnatural articulation on the choir patch, which makes that stand out like a bit of a sore thumb. Not a big deal, though. I can see this working great in the game itself. However, the short arrangement, fadeout ending, and overall very conservative treatment of the original source tune seems unfortunately outside the scope of what we're looking for on OCRemix. I don't believe this goes far enough with interpreting or expanding on the original when viewed in context of our site standards, and the arrangement itself is so short, I think it works better as music for a game than as its own arrangement. Other judges may view it differently, and I hope this doesn't discourage you, but I don't think this is a proper fit for OCR. Sorry! NO

Contact Information ReMixer name: Salavander Real Name: Ben http://www.soundcloud.com/salavander Track location: attatchment, and Submission Information Name of game arranged: The Binding of Isaac Name of arrangement: "Bisclaps" Name of individual song arranged: Repentant Composer of original song: Danny Baranowsky Link to the original soundtrack: http://dbsoundworks.bandcamp.com/album/the-binding-of-isaac-2 Comments: This is the song I created for the Community Remix Mod of The Binding of Isaac. I named the song 'Bisclaps' after a comment about my song in a video by NorthernLion, who referred to the clapping and snapping sounds in the song as "bis-snaps and bis-claps." This was a shoutout to another YouTuber, "Bisnap," who also plays The Binding of Isaac. ------------------------------------------ Source:

Actually agreed with Flexstyle, I was having a hard time putting my thoughts into words on this. This is solid work from you and clearly above our bar, but everything is very tightly-quantized and so clean, it feels a little bit safe and restrained. I'd love to see just a bit more attitude to this mix! Arrangement is rock-solid, sample quality is great across the board... it's just a little underwhelming to me. No disrespect, I think you've got a solid track here that people will enjoy regardless! YES

Very creative adaptation, Tornado Man sounds simultaneously familiar and totally foreign here, somehow. As I've come to expect, the piano performance is intimate and skillful without being too flashy. The lack of dynamics to such a short, slow arrangement poses a bit of a conundrum - what's here is solid and definitely passable in my book, but there's not a TON of substance to this arrangement either. The ideas are presented clearly, but there's not much of a curve to the track and it ends very quickly. I'm a little bit stumped, I think I'll need to mull this over because this decision will almost definitely boil down to a matter of whether or not other judges find the arrangement to be substantial enough, and I feel like it is a very subjective call either way. EDIT 6/4: Yeah, after revisiting this I can safely say that this is just not substantial enough as an arrangement to really meet OCR standards. I hate to kick something like this back because it is quite nice, but we need to hear just a bit more content to make it work! NO

ReMixer name: Pl511 Email: UserID: 48825 Name of game: Megaman 9 Name of arrangement: Waltz of the Wind God Name of song arranged: Tornado Man Stage Comments: This is definitely one of the harder things I've tried to achieve with an arrangement - creating a standard 3/4 waltz from a 4/4 source. While the first few phrases came quite easily, a couple of the main motifs don't lend themselves to 3/4 incredibly well without quite a lot of adjustment to make it sound more natural. As a result I feel like the extra effort that I put in to make the track flow a bit more helped a lot in giving a more flowing and fragile side to the original, quite chaotic and fast-paced theme. Just for notice, the entire track was recorded in a single session. -Pl511

Not sure how I feel about this yet, so I'm going to drop some random bullet point thoughts and revisit this later... - Arrangement is very long and feels directionless, despite a lot of variation in the patterns and lack of direct repetition, the arrangement feels repetitive - Ambiance is strong and well-mixed - Piano sample is a weak point, tinny and low-quality. Unfortunately since it takes the lead role so often. - Strings sound well-articulated and help "punctuate" track - Lot of intelligent writing and transitions, great mixing of sources No idea how I'm going to vote on this one yet, but there's a lot to like here. EDIT 8/23: I'm revisiting this track after some time away, and reading Palpable's vote really helped crystallize my thoughts on what is keeping this from working. I don't want to detract from the good work you've done here, because this is a solid track that you clearly put a LOT of effort into, but the lack of focus and haphazard melody/chord writing is preventing this from clicking. I won't retread too much on that because he really nailed the feedback there. I'm still having a big problem with the piano sample here and I can't tell if I'm just showing my piano bias here, because nobody else has really commented on it, but I'm getting a very tinny, low-quality "FL Keys" tone from it and it just takes me out of the ambiance of the track. It sounds like the current sample you're working with has been nicely massaged with EQ already and you're just running up against the limitations of your samples. Perhaps if the arrangement/part writing were cleaned up and focused I could sign off on this with the current production quality, but I do feel like the piano sample quality is dragging this down. To recap though, I think the arrangement is probably the biggest hurdle that you need to overcome with this track. Keep at it, if not with this remix then with another submission, because you've clearly got chops! I just don't think this is working 100% in this form. NO

Your ReMixer name: Unknown Alias Your real name: Nick Williams Your website: https://nickwilliamsmusic.bandcamp.com/ Your userid: 53465 Name of game(s) arranged: Klonoa 2: Lunatea's Veil Name of arrangement: Sorrowful Ocean Name of individual song(s) arranged: Seaway, Opening Theme, Calm Sea, Going to Lunatea Klonoa 2: Lunatea's Veil is one of my most fondly remember games from when I was younger. The dream like atmosphere to the visuals and music always just had such an effect on me. One thing I always loved was the dynamic music that would play when going into a cave, everything in the song would become much slower, more simplified, and have much bigger reverb. Because of how much of an impact this games' soundtrack had on me, when I decided to join the forums and try to make something for the site, Seaway from Klonoa 2 was one of the first things that came to mind that I should do. Source material used: Seaway: http://youtu.be/zvj3BLNYNk8 Opening Theme: http://youtu.be/-Qqhfq7YkwQ Calm Sea: http://youtu.be/LVRSlX183GE Going to Lunatea: http://youtu.be/9HSIg9L3J-U Here is where the source material is used throughout the mix: - Opening 2 chords of Seaway at 0:00 to 0:15 - Main melody of Seaway at 0:15 to 0:30 - Bass solo at 0:30 to 0:45 with Seaway's main melody at 0:37 to 0:40 - Second section of Seaway from 0:45 to 1:19 - Transition from Seaway to the Opening Theme at 1:19 to 1:27 - Opening theme from 1:27 to 1:42 - Transition from Opening theme to Calm Sea at 1:42 to 1:53 Using the opening arp from Calm Sea - Using the idea and bassline of the Calm Sea track to create a breakdown from 1:53 to 2:23 - Piano solo using new chords, similar bassline, and same melody to Calm Sea 2:23 to 2:39 - Solo continues and picks up speed at 2:39 to 2:54 - Drum fill from 2:54 to 2:58 that transitions back into Seaway's main melody - The chords, melody, and bassline from Seaway with some added strings at 2:58 to 3:28 - Going to Lunatea's melody is used from 3:28 to 3:58 with the solo violin playing Seaway's melody from 3:28 to 3:32 - Original part to break out of Going to Lunatea at 3:58 to 4:14 - Piano solo from 4:14 4:29, Seaway's melody is played from 4:21 4:23 - Seaway in a different key and the solo violin with some more intensity to the drums and piano at 4:23 to 4:59 - Climax from 4:59 go 5:14, solo violin plays Seaway melody one more time from 5:07 to 5:14

Wow, this source actually translates REALLY well to jazz. Some nice ambiance opens up your track and you jump right into it without wasting much time. Your chords are pretty fantastic here and sound great on that hard electric piano sample. Overall, I'm feeling the lo-fi vibe of your instruments and the treatment of your pianos/organs. Right off the bat, the drums sound like a weak point to me. Pretty rigid sequencing (all of your hi-hats are at the same velocity and sound hard-quantized) and very dry mixing makes them not sit well with the rest of the instruments. The transition around 1:15 brings in some bigger-sounding drums but the samples are still very dry. This is the main critique I have of this track that I would like to see addressed. :48 sounds odd to me, whatever instrument is playing that arpeggio has a slow attack that does not sound natural for that riff. Additionally, the bass patch that enters around 1:27 is mixed loudly and sticks out too much to my ears. Overall, the mastering on this sounds like it could be brought up slightly louder without causing any unwanted loudness. Really strong showing here, I love this arrangement but the drums and a few other mixing nitpicks are putting this just below the bar for me. I really want to see this on the front page but I think a few more revisions are warranted before it's ready for that. Good luck! NO (resubmit!)

Hi OCRemix. Here's a link to my remix. I've also attached it to my email in case y'all don't like Soundcloud. ReMixer name: Savino Real name: Will Savino Email address: website: https://soundcloud.com/will-savino/ userid: 53881 name of game: Fallout 3 name of arrangement: Megaton Rock Name of song: Main Title Composer: Inon Zur Original: youtube link here Everything else: I love the main theme, especially the really ambiguously hopeful nature of it, but I really wanted to have a different harmonic take on it, something that better reflected the sort of jazzy element of the Americana aesthetic used throughout the Fallout series. I also like using sounds that are clearly electronic but have an organic nature to them. And while I avoided the militaristic drums and horns used in the original, I still want the music to be just as propulsive, hence that ostinato rhythm I use throughout. I hope that's all I need. Thanks a lot, guys!

It was really insightful reading your writeup on this track and making the A-to-B connections from elements from "Blood Theme" that you incorporated into your own mix. Conceptually, I feel like this is a very successful track at creating the foreboding, moody vibe you were going for. I really dug the subtle integration of the bells throughout the track. The source usage goes off-rails at times but I had no problem identifying this as a Magus remix. Mixing-wise, I thought your string sample was weak and contributed some muddiness during some of the more energetic piano sections. Your piano sample still sounds a little on the fake side and starts sounding indistinct when you start playing heavier on the low notes, but it's a pretty appropriate tone for this mix and I think the realism is good enough to pass muster. The wind sound effects felt very lo-fi, but it's not a big deal. There's still room for improvement on the sound quality/mixing front but I think this is above the bar, thanks to a pretty solid arrangement and concept that I feel mitigates any of the sound quality issues. YES