Gario

Hello, djpretzel and the OC Remix Community! I hope this e-mail finds you doing well. My name is Chris - or to use my producer name, ichordic - and I'm director of the Sounds Department at Kronotiq Media, a multimedia company in Orlando. We just released a remix of Mighty No. 9 that we'd been holding on to for a minute, and we wanted to share it with the OC community. It's our own take on the main theme song, which was originally produced by the Mega Man-composing legend Manami Matsumae (https://www.youtube.com/watch?v=Vc8aXhQFFmQ). This remix takes those feelings of hope and anticipation that the original gave us back when the Mighty No. 9 project was first announced on Kickstarter, and brings them to all-new heights (perhaps we should say regardless of the game's history). The link is below. We also created an account with OC (Kronotiq Sounds - user id 35482), so we'll be sharing this on the forums as well. We hope you enjoy! Best, Christopher "ichordic" Paul Sounds Director Kronotiq Media kronotiq.com Check out Kronotiq Sounds: Spotify | Google Play | iTunes/Apple Music | SoundCloud | Bandcamp

Hey there, welcome to OCR! Just giving a heads up, I moved this thread to the VG Arrangements portion of the WIP forums - this is definitely an arrangement of a VG track, and it'll likely get more attention there, to boot. Can't really go wrong with a Chrono Trigger Main Theme cover, and you got some good sounding instruments, to boot. I suggest you play around with the levels of this track, though; it sounds really hot, like it's hitting the limiter constantly. Bypass your limiters on the master track and set your levels so that they're not clipping, then use the limiters/compressors to shape the track a little bit at the end - it'll improve the production quality significantly. Thanks for showing off, though, and I do hope you find the forums to be a friendly, helpful place. You can also join our discord if you want more personal interaction with the community, too!

Nope, have no idea who you were. I guess that's a good thing since you didn't really like your own presence on here prior? It was about ten years ago since you last posted anyway, so it makes sense that I don't remember - I've only been on here ten or so years, myself. Doesn't look like you needs any hazing, either, since Meteo's got that part covered. Anyhoo, welcome back, glad to have another person enjoying OCR and it's forums!

Nah, just send the finished WAV. You'd be the last person I'd cut, considering you literally already finished it before. Thanks for the heads up

Not too many people left to submit for the final deadline, which is great. Got a few stragglers, though, so @Ivan Hakštok, @Gario, @djpretzel, @Sil, we're going to need to hear back from y'all. It's wrapping up, so let's push to the last stretch!

Oh, a judge rules question! Here's where we'd come down on it: At the moment, there seems to be a misunderstanding of the rules built into the question (which means we should perhaps clarify on the submission requirements page). When we look for source in an arrangement (rule of thumb: at least 50% of the arrangement should reference the source), what we're looking for is the arrangement/ReMix to be referencing the source at least 50% of the time, not for the arrangement to reference at least 50% of the source. As long as it's identifiable as the source, one could theoretically make a remix that only references 25% (or even less) of the source and it would still qualify for OCR as long as the arrangement was referencing that source for a significant period of time (again, rule of thumb is 50% of the arrangement). It would be odd leaving out so much source (and people might get upset that their favorite parts were left out!), but that's not technically a Judging requirement. Concerning your actual question, though, which source would we give credit to in this case? Very likely, in this case it would be whichever source the artist claims to have been arranging since it's not technically wrong to call the arrangement a "Link Between Worlds" arrangement, even when it's similar/identical to the Link to the Past source. In the past I've sourced Dracula X's Stage 6 track for my submission (which is itself an arrangement of the Castlevania 3 "Beginnings" track), so I have some personal experience on that front to help come up with that conclusion. Forcing people to use "official" versions of the source would, I imagine, cause the staff quite a bit of headache figuring out which source is the "actual" source, which otherwise we'll only do if the VG track is in fact an arrangment of a well known non-VG track (like, say, one of Michael Jackson's songs used in his "Moonwalker" game - can't ReMix "Smooth Criminal" just because it's in his game, folks!). Hopefully that answers your question!

I went and watched it. Pretty darn solid if you ask me - go enjoy it.

Track comments would be solid, the permission form so that we know we can use your music for the album will also be necessary (which I need to go through the forms we already have). Otherwise, I'll need to talk to DjP after the project finishes up to see if there's anything else that we need from the artist.

Oh, I like this idea. The mashup element really does wonders with this track, and as far as I can tell no one else has really gone in this direction with the sources (which considering how well it works is a surprise). I'll add a minor note for the fade-out ending (would be better with just an actual ending), but that's a minor complaint compared to the solid idea you present here. As far as production it sounds a bit flat. It could use a touch of stereo spread and/or panning on a few instruments (not too much - just enough to give it space!) to help the track pop off the page, so to speak. The drums sound great, but their presence is underappreciated due to a notable lack of minor sidechaining in order to give it some more presence. Again, don't go overboard, but with synthwave it helps when those juicy drums pop out at the listener, which side chaining helps with considerably. These are some pretty basic suggestions, though; you should discuss this with the OCR Discord, see if people in there can give some solid advice on it, too. I think the arrangement is pretty spot-on, so I would like to see this in the inbox someday (touched up, of course!).

One of the greatest necro's I've seen. This is definitely some smooth arranging. This is from 2008? Could be submit today and probably accepted (if the timestamping worked out), lol. Regardless, very nice work man.

Contact Information Your ReMixer name - gravitygauntlet Your real name - Adrian Wahrer Your email address - Your website - gravitygauntlet.com, soundcloud.com/wahrer Your userid - 35645 Remix link: Submission Information Name of game(s) arranged - Pokémon HeartGold & SoulSilver, Pokémon Platinum Name of arrangement - Ruins of Alpha Name of individual song(s) arranged - Arceus, Battle! Giratina*, Distortion World, Mt. Coronet*, Pokéathlon Finals, Sinjoh Ruins, Spear Pillar* Additional information about game including composer, system, etc. - Platinum, HeartGold and SoulSilver were all titles for the DS. Sinjoh Ruins was arranged and composed by Go Ichinose. *Parts of these songs already appeared in the Sinjoh Ruins arrangement. Link to the original soundtrack - Your own comments about the mix, for example the inspiration behind it, how it was made, etc. This one's a bit lengthy, I know, but it's intended to be an "extended" arrangement of Sinjoh Ruins, which in and of itself was a medley of various legendary Pokémon-related themes from Diamond, Pearl, and Platinum. Like the source, Mt. Coronet, it's pretty hasty in running through everything it wants to cover, whereas this is intended to give them a little more breathing room. In the same way that Game Boy-esque chiptune samples often get used in the name of nostalgia, some layers wed more modern production samples with noticeably dated sound patches (such as the rhode instruments) to evoke the oddly quiet soundfont Diamond and Pearl used on the DS. The arrangement is supposed to be a pleasant surprise, starting out as a more run-of-the-mill bombastic Spear Pillar redux before settling into the Sinjoh Ruins intro with an understated feel in keeping with some of the more nuanced tracks from Diamond and Pearl. Giratina gets all of 2-3 seconds of runtime in the original track, so the ending segment takes some pages from Distortion World with the drums from Arceus to help compound the sense of dread Sinjoh Ruins only barely touches on. The synth pads and blips / reverse blips are likewise intended to be evocative of more chilly and glitched-out atmosphere that Platinum cast on Diamond and Pearl. Thanks for looking at my submission! Adrian Wahrer

ReMixers: Konkey Dong, BallinFatty Real names: Matt Forbis, Kerry Jamerson Email: Original Soundtrack: Name of game: Sonic the Hedgehog Name of arrangement: Trapped in Marble This song was originally started as just my friend and I playing around with the Marble Zone melody on FL Studio. We liked what we had going, so we decided to expand upon our work. This is the result we got after about 3 weeks of on and off work. This song is intended to be a trap-style remix. Thank you for your consideration, we look forward to hearing from you.

Bumpity bump response! Yeah, sorry 'bout the mod review thing not working as it should as of late; the staff that normally run it are experiencing a critical existence failure. I'll give some thoughts on it to help you out (you might've actually asked me earlier, but the message got lost in the discord shuffle - really sorry about that!). I do like the overall quality of your instruments - much better than the Silent Hill instruments, even - but I'll be straight and say this is likely too conservative for OCR. The instruments are pretty close, and the overall arrangement is similar to the source (without the texture change made in the source in the piano). I hear the subtle changes made in the arrangement (like at 0:55 - 1:12, for example), but it's likely not enough for the panel to call it sufficiently interpretive. It's great stuff in it's own right, OCR be damned, but it'd likely be rejected for being too conservative. (Note: I'm only commenting on whether it'd pass the OCR panel or not because you're marking it for mod review )

Overall, I do like where this track is taken; it follows a conservative interpretation for the first half of the track, followed by some really cool arranging and embellishments that spice things up. It really sets up the listeners expectations and delivers something very different as it proceeds into new territory. I really enjoyed it, and disagree that this breaks any sort of OCR requirement. My biggest issue with the track is that the instruments sound dry and mechanical. It's like it's a PSX version of the game rather than an SNES version, as far as sound quality. Better than the source, but not by that much, and OCR does have a production standard to uphold on this. Work some (not too much - just some!) reverb into your instrumentation in order to give it a more realistic sounding space for your instruments, and it would take this arrangement to the next level. I feel the arrangement is strong enough, though I do think the quality of the instruments & space are generally dragging this down. I do hope to hear this again from you, though, with some updated sounds and/or a touch of reverb to get the space sounding more realistic! NO

lol, you're good; I count your last submission for this due date. No rush. ... TBH, I think I'm the only one in trouble on this due date, so... git on it, Gario!

Y'know, I don't think anyone would complain if you did symphonic metal forever. Or is it Operatic metal? Either way, at least I wouldn't complain. Quick reminder of the few people this impacts: Semi-final deadline is today. We have three weeks to get our stuff in order, so let's push this thing through!

RebeccaETripp Rebecca Tripp http://www.crystalechosound.com/ ID: 48262 Game(s): Golvellis: Valley of Doom Song Title: Kelesis with a Mandolin Songs Remixed: Overworld 5

Hello, Attached is my submission and below is the info. Contact Information Your ReMixer name - Moro Your real name - Alex Your email address Your userid - 35618 Submission Information Name of game(s) arranged - Wario Land - Super Mario Land 3 Walking on Water ~Trance Mix~ Name of individual song(s) arranged - Water Levels 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=UPs1ei4oDSE&t=1256s (Listed as "Stage Theme VII") I always like this track when I played this game as a kid and while watching a speedrun of the game recently I rediscovered it and thought it would make for a neat remix.

You can't go wrong with Smooth4Lyfe. You just can't. His vocals are really a dream, when it comes to this kind of arrangement. Great stuff, highly recommended.

Oh, this is a fun little arrangement. I agree - leaning into the artificial aspect of your instruments (like your flute-ish instrument) rather than trying to make them sound realistic gives the arrangement a more unique and pleasant flavor. The mixing of the guitar is too much to the front for essentially being the texture, but otherwise the production is pretty good, as well. Nice work, and I'm glad to see you makin' some music again.

Man, I really like this track (I generally really love the work that comes from Moire Effect, actually), but I'm definitely having a hard time justifying this track as far as source usage goes. The first 23 seconds are great (as well as the book-ending part at the end), and the loose connection to the textures in that 0:23-1:03 is arguably alright, but basing the arrangement around the harmonies of the source for the rest of the track is really a stretch to call "recognizable" as the source, as those aren't exactly uncommon chord progressions - it could literally be a remix of thousands of different VG sources, by that logic. There's really little to work with outside of the chords in the source, I understand, but that's simply an inherent challenge of arranging such a piece. There are textures, there are general swells used in the source, etc., that could still be used as connecting material, which would help it stand out as specifically an arrangement of THIS source rather than anything else. I hate to give a track I otherwise love the thumbs down, but I don't think I can justify this being on OCR. Great work as usual - the music was once again spot on - but unfortunately I don't think I can call the harmonies used throughout as uniquely recognizable enough as the source. NO

Oh man, this track really is something else. While the texture takes some *ahem* obvious inspiration from Carol of the Bells in the source, it does transform it into something completely different with the themes and harmonies. This arrangement, likewise, takes the source straight at first (with embellishments & improved sounds), but then develops those themes significantly in the second half, taking the arrangement to new heights. It's an excellent piece of Christmas arranging without quite being a Christmas tune - it reminds me of something Mannheim Steamroller would do with a Christmas song (and I mean that as endearingly as possible). Great work! YES

NOTE: Yes, there's a lot of Carol of the Bells in this (mostly the infamous texture), but that's an artifact of the source, not the artist. There's enough original material in the source as well to merit a shot on the panel. - Gario Contact Information ReMixer name DJ Squid Slap (Id prefer my real name to be used) real name Luke Jansen email address website https://jansen7183.wixsite.com/retrogamemusic userid (I cant find it) Submission Information Name of game(s) arranged "Jazz Jackrabbit Holiday Hare 1995" Name of arrangement "Green Rabbit Dreams" Name of individual song(s) arranged "Candion"

RebeccaETripp Rebecca Tripp http://www.crystalechosound.com/ ID: 48262 Game(s): Pokemon Red/Blue Song Title: Purple Screen Songs Remixed: Title Screen

Remixer name: Bluelighter Real Name: Guillaume SAUMANDE Mail: ID forum: 21840 Game & Songs: Asterix (Game Boy) & Egypt, Rome Composer: Alberto José González Egypt : https://www.youtube.com/watch?v=h32OarxPpCY&list=PLbMoFtAsbzin8a4DaIihGsx7r5brXyEVC&index=5 Rome : https://www.youtube.com/watch?v=cokC-uzy2n0&list=PLbMoFtAsbzin8a4DaIihGsx7r5brXyEVC&index=3 Hi OCR ! Here is an orchestra arrangement based on Egypt and Rome theme, from Asterix GB. “Egypte “ is really my favorite melody from the OST. For a long time, I wanted to arrange this. But I didn’t find convincing ideas to start. The arrangement must emphasize the main Melodic Line (ML) from the theme (divided in ML1 and ML2 in my breakdown). I didn’t find how start like this. In the end, I decided to start my mix with ML3, a melody with oriental influences really pronounced. I wanted an epic orchestration to well represent the power of the Egypt empire : melody in brass, deep notes for the rhythm (faithful to the original), gong sounds to mark beginning of some parts, anvil sounds to reinforce percussion rhythm, quick notes by piccolo, harp effects… I find also interesting to introduce some dissonant notes with xylophone. This emphasizes the unease we can feel on this piece. For this particular effect, I've taken my inspiration on “Dawn Of The Planet Of The Apes” soundtrack composed by Michael GIACHINNO. Else, some influences of peplum soundtracks can be felt on the whole piece. The arrangement starts and ends up by the melody simply played by flute, accompany by harp. There is also a bridge, soft part with ML1 played by flute, accompany by a light instrumentation. On the other parts, it is the full orchestra that I wanted epic. Rome theme is introduced at part 5. I find these two themes well blend Parts 6 and 8 are the two culminant points of this piece, with orchestra really reinforced! I’ve composed short parts 1b and 10a freely, basing me on Egypt theme rhythm : strange harmonies by brass, dissonant notes with xylophone… I find it well matches with the two original music’s atmosphere. Enjoy ! BREAKDOWN Original Egypt : ML1 (0'00), ML2 (0'34), ML3 (0'51) repeated (1'09) Rome : ML4 (0'17), ML5 (0'34) repeated (0'51) Arrangement 1. Intro : Cm a. 0'00 ML3 flute & harp b. 0'25 transition : orchestra to introduce next part 2. 0'37 : ML3 : orchestra Cm, Fm, Cm 3. 1'10 : ML1 a. Soft b. Melody reinforced 4. 1'50 : ML3 : orchestra Cm, Fm, Cm 5. 2'11 : ML4 : orchestra 6. 2'25 : ML5 : orchestra 7. 2'43 : ML4 : orchestra 8. 2'52 : ML1 : orchestra Dm 9. 3'11 : ML2 : orchestra 10. Outro: a. 3'30 : similar to part 1b b. 3'50: ML2 similar to part 1a