Palpable

I never do competitions, but this one sounds too fun to pass up. Count me in!

GrayFox1217 Spencer Bambrick www.spencerbambrick.com Final Fantasy X Zanarkand String Quartet Zanarkand This was composed by Nobuo Uematsu This is a very simple string quartet recorded in a studio in Dobbs Ferry. I think it's a pretty unique approach to one of my all-time favorite pieces of music ever written. Hope you enjoy it! -Spencer Bambrick Spencer Bambrick www.spencerbambrick.com

Contact Information ReMixer Name: Lorpril Real Name: Loris Prieler E-Mail: Website: N/A User-ID: 52246 Submission Information​ Game: Portal 2 Name of Arrangement: Different Songs Arranged: “You WIll Be Perfect" (https://www.youtube.com/watch?v=R5DgrFXPI2Y); “The Part Where He Kills You” ( )The main reason for making a remix was definitely the dark touch of the Soundtrack, especially these both tracks inspired me. The arrangement was created using FL Studio. The synths were created using “GMS”, a synthesizer that is included with FL Studio. The drums are samples I recorded with a friend. The voices of the turrets were extracted from the game files. “You WIll Be Perfect" (https://www.youtube.com/watch?v=R5DgrFXPI2Y); “The Part Where He Kills You” ( )

Greetings This is a ReMix of Supremacy's Title Theme for the C64, composed by Jeroen Tel, a guy whose music I admire a lot and inspires me as well, he made some of the best C64 tunes and he's also a really cool guy. Over the course of several months I've been doing some dubstep tracks, and although I have done several that I could submit I decided to go with this one first, as it's my favorite so far. I mixed chiptune and dubstep elements here, and tried to go for the most abrasive and gritty dubstep bass sounds I could create while also making the drums as hot and big as I could. i think it turned out pretty well and I think its my dubstep track that sounds more "big" so far. As far as the sound design goes I had a surprisingly easy time with this one as I created the sounds exactly how I wanted them in almost no time (love when that happens) and in very simple ways. Most of the hard work had to do with the modulation and CV routing which is fairly complicated. As always, all the synths and drums were programmed from scratch by me on Reason. This was yet another product of the People's Remix Competition, so another shout out to everyone who participates. Remix: Original: LT Edit (7/28): I talked with Mike after OCR Talkback about this mix, and without prompting, he mentioned the problems of piercing higher frequencies and the overall levels being too loud, and planned to revise this. Here we are (including the ending fully trailing off).

Contact Information Artificial Fear Mat Graham www.artificialfear.com

Olá, pessoas!!! *hugzevery1!11* 6 months already, yeah? I've been pretty concentrated doing my first solo album, which I want to be da bomb. Music part's almost 100% done, and I'm trying to make sure it'll transport listeners to various natural ambients as the tracks go by. Lots of World Music, some Electronica, MANY experiments and stories; that's all I can say for now ^^. And here's my new remix, which is for Chernabogue's new project - Vampire Variations 2 -, so please don't publish (if accepted) until its release. ------------------- GAME Castlevania: Bloodlines SOURCE Reincarnated Soul REMIX Red Pearl Short story: I made a 30 sec sketch of something cool and sent to Mr. Bogue. He said it had a Pirates of the Caribbean vibe. Voala - I developed the song further in a way so it could clearly resemble that movie somehow in its soundscape. I mean, remember the Black Pearl? Something like that, there you are. The title of this remix/ship is a reference to a vampires' really valued treasure: blood! >:[ Of course, I also seasoned it with some harp and hammered dulcimer just because. See you soon o/ ~Guifrog

Contact Information Your ReMixer name: nckmusic Your real name: Thiago Nemecek Your website: www.nckmusic.com Submission Information Name of game(s) arranged: The Last of Us Name of arrangement: Sarah Name of individual song(s) arranged: The Last of Us Additional information about game including composer, system, etc. (if it has not yet been added to the site): Playstation 3, Gustavo Santaolalla Link to the original soundtrack (if it is not one of the sound archives already available on the site):

Contact Information Your ReMixer name(s) - MC Final Sigma, W!SE the all.E Your real name - Brian McPhee, Jordan Etienne Your email address - ; Your website - https://soundcloud.com/mc-final-sigma ; https://soundcloud.com/darkmoocher Your userid (number, not name) on our forums, found by viewing your forum profile http://ocremix.org/forums/member.php?u=50715 ; http://ocremix.org/forums/member.php?u=38652 Submission Information Name of game(s) arranged - Super Mario Sunshine Name of arrangement - Tutti I Frutti: The Ballad of Piantee Joe Name of individual song(s) arranged - Delfino Plaza, Gelato Beach, Pianta Village Additional information about game including composer, system, etc. (if it has not yet been added to the site) - Koji Kondo, Shinobu Tanaka ; Nintendo Gamecube Link to the original soundtrack (if it is not one of the sound archives already available on the site) - Your own comments about the mix, for example the inspiration behind it, how it was made, etc. Remix : Lyrics: Background and Inspiration: 0:00 - 0:25 = Delfino Plaza 0:26 - 0:30 = Delfino Plaza guitar chromatic chord progression sped up 0:31 - 0:37 = Delfino Plaza musette melody 0:38 - 0:50 = Gelato Beach string countermelody 0:50 - 1:14 = Gelato / Delfino 1:15 - 1:40 = Delfino 1:41 - 1:52 = Pianta Village 1:53 - 2:18 = all sources mixed in together 2:19 - 2:44 = Delfino Plaza (intro reprise) and Delfino Plaza musette melody 2:45 - 3:58 = *mix and match of all sources again* 3:59 - 4:23 = Delfino Plaza musette melody 4:24 - 4:49 = Pianta Village + Delfino Plaza ---------------------------------------------------------------- Delfino Plaza ( ) Gelato Beach ( ) Pianta Village ( )

Love the ideas and the energy here, it's an excellent base to start from. Really powerful song overall, but there's a few big issues. The compression is quite high on the track, and there's almost no dynamic variety for the first couple minutes. I expected a change in instrumentation to come at 0:36 or 1:21, but it stayed at full blast. It would be good to have something where the lead drops out for a section, or the lead ramps down in intensity. You have some ideas like that in the last couple minutes of the song, and I'd like to see some of those ideas used earlier for variety. The guitar solo at 2:16 was AWESOME and well-timed. Just the kind of change that was needed. Focus on the arrangement issues first, and then try to iron out the overcompression issues. This is a good 80% of the way there, so please continue working on it. NO (resubmit)

Unfortunately, can't make it this year. It's not much of a lunch place, but if you have time: http://flourbakery.com/ Some of the best desserts I've ever had.

The intro builds expectations so high, that anything less than an awesome chorus would be a letdown. I like what you do with the chorus, but the production isn't selling the idea. The drums should be bigger at the least, but you also might want to have the intro not get as loud, to save the full impact for the chorus. However, the biggest problem is that this doesn't feel like a finished song. After one chorus, it drops into a nicely-timed cooldown section... and then it ends. It definitely doesn't feel like it should end there, and if you want to, I think you could easily stretch this out another few minutes. Even just having the song kick back to the chorus one more time might be enough for some closure. Think about what you can do to extend the piece. PS: Piano should be louder in the cooldown section. NO (resubmit)

What a cute little arrangement. The original song is pretty happy and you kept that same spirit, while providing a fairly different take on it. The intro and outro didn't change the mood for me; they were kind of quirky and fit the style. Not much to say, but I really enjoyed it! YES

On the surface, this is a standard remix of the Perfect Dark source - it follows the structure of the original pretty closely. But what you brought to this is a remarkably haunting mood created with some unorthodox instruments and FX. The drums were excellent - distorted, panned strangely, and echoed to sound truly unsettling. There's an art to making them sound weird without putting off the listener, but you balanced that line perfectly. On top of that, they had endless tweaks to keep them from getting stale. Nothing really threw me here, from the saw lead to the slightly off-key section. Everything worked. YES

Nothing earth-shattering in the way these sources are handled - this is kind of an archetypal OC ReMix approach. A more modern style, strong focus on the melodies. There's absolutely nothing wrong with a remix taking this approach, especially when the production is this strong and the mood so well-crafted. Truong-Son never overlooks the little details, and it's self-evident how much time he put into getting the sounds right. Easy to like, and will probably be loved by those who are familiar with the original sources. YES

Xavier is gonna try to give us a less compressed version. We'll see what he can give us.

This takes a little time to get where it's going, but there are lots of interesting detours along the way. I appreciate how the source is handled (especially the halftime sections) but the intro is a tad long, especially for a 3:32 song. Apart from the gripe, I really liked what Jake gave us here. Great arpeggios coloring in the soundscape, smooth groove. Yea, I say. YES

Yeah I agree with Will that sometimes the mix lacks a focus. In its worst moments, the lead synth is quieter than it should be and the track sounds lacking in direction. The use of FX also didn't add much - they were scattered almost at random - but it wasn't a big plus or minus. However, at its best moments, the melodies are front and center and cleverly used, the automation is extremely detailed and fun to listen to, and there's endless variety. The worst moments aren't a whole lot of the mix, as I hear it. While it has its problems, I think it's a pass. YES

Definitely hear the criticisms about overcompression. There are moments where the impact is dulled because of squashing, especially the moodier sections and loudest moments. When the violin lead enters, you can really hear that squashing going on. It's too much, frankly. Another issue is that the lead bell riff gets drowned out a lot when things are going at full speed. In those sections, the mix starts to lose focus a bit. The arrangement is gorgeous otherwise. I love the amount of detail that went into this, and the variety of instrumentation and genre is astounding. You wring these songs for all they're worth. It would be a shame to not get this on the site in one form or another (and unfortunately, it sounds like we may not get one if you lost the project file). NO (resubmit) Edit (3/4): The newer version Xavier gave us is about as compressed, though the frequency balance is a little better. The kick doesn't sound as out-of-control, and the increased highs allow the leads to shine through a little better. Having listened to it a few more times, I think it's passable in spite of the compression. It's not ideal for sure, but the very strong arrangement makes up for that lacking element IMO. YMMV. YES

Great intro. You built the soundscape slowly but purposefully, and the direction was apparent most of the time. It bordered on being plodding, but there was just enough there to hold my interest. I wouldn't have minded the lead being more distinguishable, because the backing writing tends to fight for attention with it, and that also contributes to the listener zoning out a bit. If you brought the bell down a little bit, the flute would stand out more. Of course, there are a couple sections where the bell seems to be more of a lead than the flute, so you might need to do something different there. The transition to the piano section was awkward, though I liked the writing ideas there. The synth work was appropriately moody and I really enjoyed how it played counterpoint with the flute when the main section returned. This is a tough call, it's right on the edge for me. Hmmm... alright, gonna go with a YES. There's enough to enjoy here that the few problems can be overlooked. YES (borderline)

Piano sound is a little thin, but it's hard to deny that wonderfully written arrangement and expressive playing. I might normally push for another version, but the arrangement really makes up for the piano sound quality. Even knowing these sources well, it's very hard to spot the breaks between the songs - the flow is gorgeous. To all who are wondering how to do a medley that meets OCR's standards, this is how you do it. YES

My fellow judges have covered the biggest issues here. Not a lot of interpretation beyond moving the instruments to an orchestral setting, the piano tails make the notes run into each other, the strings are thin and aren't realistically sequenced, the instruments don't have their own space and the writing is hard to hear because of it. You've got the appropriate sense of grandeur, but this has major problems on both the writing and production ends. NO

Great intro. The backing strings, the drums, it's all working beautifully. The first chink in the armor is when the piano enters. I'm not sure what the lead should be at this point; there's a few different instruments at the same volume level. It would have a stronger direction if you bring the piano out more and focus on it as the lead. If you do that, be sure to reduce the delay on it, as you've caked it on. I agree with the other judges that the violin sequencing wasn't quite at the level I would like. It wasn't terrible, but needs a little more realism to sound convincing. The plucked instrument that is used through a lot of the song could be subtler, with more humanized sequencing. It's especially noticeable because it's used so much. Apart from those issues, which were sizable but easily fixable, there wasn't much here to pick on. I love the variety of instrumentation you've used, how things like church bells can suddenly enter but not seem out-of-place. The arrangement ideas are strong and I really want you to give us a resub! NO (resubmit)

In addition to what Kristina mentioned about the piercing frequencies of the synths, I think the synth design and sequencing is pretty bland overall. The melody line is played with almost no changes to the volume, envelope, automation, duration of note - not to mention, it is a very standard saw. You don't need ALL those things, but you need more than what you have here. It is used more like a background instrument than a lead, which one would expect to have more character and expression. Sometimes the buzziness of the synths also makes them step over each other. What you have going for you is a good arrangement, good mood, and good dynamics. This is 85% of the way there, I think, but needs work on the last 15% to hop over the bar. NO (resubmit)

Agree with the other judges that the intro goes on too long. It sounds nice but needs more development sooner, especially since it never really ramps up all that much and lasts about half the song. The low marcato strings are very stiff when they're in play, like OA mentioned. But I was more bothered by the lead, which wasn't strong enough to sound like the focus. It was used more like a background instrument and made the song kind of aimless. Anyway, a very pleasant, promising start but I think there's room for improvement. NO (resubmit)

The synth design is definitely a bit lacking, like other judges have mentioned. These are some very basic sounds that sound like they could be taken from the game itself. It's fine to have one or two elements like that in a mix, but there are many here. I would have liked to hear something with more bite to it. The drum loops got very repetitive and needed some fills or something to break up the flow. I did hear some neat high-hat work here and there, but you went for very detailed additions, when some more drastic changes would have added energy. The change-up at 2:20 was very welcome, with a cool transition to introduce it, but the transition back to the main section was very awkward, as if a new song was starting. The main problem with the mix is a lack of energy and direction due to few change-ups and simplistic instruments. This has a fair bit of expansion on the source, but I wouldn't have minded seeing more. You stick to the original mood and patterns a lot, and the drums and the half-time section are the big new elements. It's an ok approach, but it compounds the lack of energy by having the source played so straight so much of the time. NO (resubmit)