Gario

The arrangement is pretty dynamic, and does a good job expanding the sparce source using overall density and changing rhythmic patterns in order to keep the audience interested. The instruments in this do need some work, however. While there was some work done in order to humanize the dynamics, there's unfortunately more to humanization than altering the levels to simulate dynamics. The articulations, for example, are often the same with stringed instruments as they perform their counterpoints, having some level of swell in each attack. A normal performer would forego such a swell in the middle of a phrase. The reverb is also inconsistent between instruments - the harp has some room reverb on it, while other instruments (like the strings) are very dry, which ruins the illusion of this being a "real" performance. Some reverb is necessary, and it should be applied roughly equally to all of the instruments. Production-wise, it's not terrible, but there does seem to be considerable amounts of bass instruments from time to time (like at 1:04) - the bass frequency overcrowds the rest of the instruments, so you need to be careful about you mixing when using so many bass instruments so that the overall arrangement doesn't sound muddy. It's a solid beginning, and I don't think it's out of reach of the front page, but the humanization of the instruments and the reverb levels need to be adjusted as to maintain the illusion of realism. Also adjust the mixing or dynamics of the bass instruments so that the arrangement isn't so muddy and we'll be in good shape. NO

Contact Information ReMixer name: Danilo Ciaffi real name: Danilo Ciaffi email address: website: youtube.com/c/DaniloCiaffi userid: 34668 Submission Information Name of game(s) arranged: The Legend of Zelda: Ocarina of Time Name of arrangement: The Court of the Goddess Name of individual song(s) arranged: Fairy Fountain Comments:I took inspiration from renaissance music, kind of inspired by Winifred Phillips on Assassin's Creed

ReMixer name: Michael Hudak Real name: Michael Hudak OCR Forum #: 35138 Name of games arranged: Metroid Prime 2: Echoes Name of arrangement: "In and Out of Love and Heartbreak" Name of song arranged: "Sanctuary Fortress" Source material: I used the Sanctuary Fortress tune to try and convey (at least some of) the emotions of falling in, being in, and falling out of love. It's a tricky thing. The original title of this ReMix was "Night of the Argument", and maybe I've given too much away with that bit of info, but this piece is a bit of therapeutic expression. Musically, this lands somewhere between sounding like it's from the 80's and sounding like it's from whatever alternate timeline Metroid takes place in. A few little bits of other motifs from the "Prime" games in there as well, if you can spot them.

Hey! Here is new PsyNES submission for OCReMix. Contact Information Your ReMixer name - PsyNES Your real name - Jari Your email address - Your website - https://soundcloud.com/psynes Your userid - 20309 Submission Information Name of game(s) arranged - Bionic Commando (NES) Name of arrangement - Infiltration Name of individual song(s) arranged - Area 8 Music Additional information about game including composer, system, etc. (if it has not yet been added to the site) - none Link to the original soundtrack (if it is not one of the sound archives already available on the site) - I think this is on your site already Your own comments about the mix, for example the inspiration behind it, how it was made, etc. Hey OCReMix people! I started remixing Bionic Commando tunes when Bionic Commando Rearmed came out, it had such a good soundtrack and it inspired me to do remixes of the original as well. I didn't come up with anything good at the time tho, but around in 2011-2012 I tried again and started working on this one (Area 8). I didn't finish it at that time either, but got pretty good start for the remix. 2-3 years later I went back to this remix again, changed the bassline to more psytrance'ish and finished the whole remix. The older version had a much different bass sound for the bassline than this finished version, it was actually inspired by Electro Swing and Glitch Hop genres. Since 2014 when I finished the remix, it's been on my PsyNES SoundCloud account for free to download. The ReMix is made with Renoise! Now in 2019 I wanted to update the mixing and mastering again cus I've been planning to upload it to my Youtube account (https://www.youtube.com/JJTunes ) with a gameplay video. I decided I would send it to you guys as well to be judged, so I hope you enjoy this Remix, and I hope I didn't make it worse with my little update. By the time this is being judged, OCReMix is probably already 20 years old, so happy birthday OCReMix!

RebeccaETripp Rebecca Tripp http://www.crystalechosound.com/ ID: 48262 Game(s): Breath of Fire 4 Song Title: Reality and Fiction Songs Remixed: Endings and Beginnings (with some nods to Truth and Dreams)

Contact Information Platonist Jonas Loman platonistmusic.com 16372 Submission Information Chip 'N Dale's Rescue Rangers No Hat For Fat Cat Stage J NES Back to full speed, and (almost) everyone is wearing hats! Some of them are thrown, some of them are relatively stationary. I left mine at home.

Hi ! Big fan of the Streets of Rage OST, I wanted to remix it in an original way, otherwise it's useless. Composers themselves changed their songs for the live show. (and it's very brutal) The Slow Moon track has a bass line and a loop harmony which make me think of Lalo Schifrin, so I try a latin jazz version. I'm pretty proud of this remix although this is a new style for me. I did my best to simulate real musicians and stay close to the original melody. I hope you will enjoy my rare non-orchestral work. Regards ! Remixer name : Ophanin Real Name : Mathieu Deltour User Id : http://ocremix.org/community/user/34572-ophanin/ Game : Streets of Rage 2 Song Title : Lalo Mood Original song : Slow Moon (stage 5)

Your ReMixer name - Knight of the Round Your real name - Justin Taylor Your email address - Your website - www.knightoftheround.com UserID – 25213 Name of game(s) arranged - Final Fantasy VI Name of arrangement – “Monument to Non-Existence” Name of individual song(s) arranged - Dancing Mad Additional information about game including composer, system, etc. (if it has not yet been added to the site) - n/a Link to the original soundtrack (if it is not one of the sound archives already available on the site) - n/a Your own comments about the mix, for example the inspiration behind it, how it was made, etc. This is the closing track to our latest full length album, War of the Triad. I’ve always been “afraid” to tackle this song for many reasons, but mainly because of the original track length. I felt that the only way this song would be do-able in our style is if we completely broke down the song and built it back up in a way that was fresh while kept the feel intact. I think we did a pretty good job of that, as I was able to keep most of the source intact (there is only one movement absent from this version). This one is heavy as hell, and probably ended up as one of my favorite VGM arrangements I’ve ever worked on.

Mostly just needed to touch base; we haven't had the opportunity since the project revved up again. If you could send me what you got on May 31st, that'd be good enough. (y'all watch out, his tracks ARE really cool!)

That's a pretty neat source, and the metal guitar work is definitely up to our par. Some of those lines are difficult to execute, and you handle it like a champ. The production, while sounding a little heavy on the low pass, sounds solid for a heavy metal track, with pretty good mixing to boot. The arrangement, however, is pretty conservative. Not only does it hit all of the same overall beats as the source, the melody and textures also follow the source nearly note-for-note - it even continues to repeat until fading out, as if it were ripped straight from a game OST. While it's a great cover, unfortunately it doesn't quite follow the OCR site mission of interpretive arranging of a source. It's a great cover, though, so take some pride in what you sent us - it's just not for this site. I do hope to hear more from you, though, as you've got the skills to get some music on here if you decide to expand on a source. NO

No worries! To be honest, it's the directors' responsibility to get into contact with y'all, as well. We just gotta give a bump and a nudge to people to keep em' on their toes. Thanks for the heads up!

Well I'm looking forward to it, for sure!

Shoot, you're right - I totally forgot about that one, but that game was fun as hell. I'm personally hoping they manage to put Contra Hardcorp and Golden Axe 2 on there - those miiiiight actually tip me toward a purchase, if they go there.

Sega is pulling out all of the stops on this one - Wily Wars? Bloodlines? Gunstar Heroes? Phantasy Star IV? They are not fucking around; unlike the PS Mini, I only see good things coming of this one. I wasn't even a Genesis kid and it STILL makes me want to pick one up.

Alright, I admit I've been distracted for the past few weeks working on other OCR staff projects behind the scenes, so I've neglected to properly follow up on the last WIP update. I see the next one has passed, so because this was on the head of the directors I'm pushing the last two dates back by three weeks. It won't happen again, folks, so be thankful for the breathing room. I am literally not allowed to delay this project again (it will likely simply be cancelled if it's on delay again), so please take these dates seriously even if I'm slow on updating the thread. @Moseph and @Ivan Hakštok need to get in touch with me - I would like to coordinate with you two about your tracks, since they're quite important. I also gotta bug DjP 'bout his track in a bit, but that's just project tradition. I also have to get my tracks finished, because... well, yeah.

Mmm, very space-y, and very different from your normal fare. I like the almost analogue sound this has thoughout; the instruments sound very warm, and the added crunchiness the saturation adds to this is very welcome. It has a light soundscape, but it never sounds empty - not an easy thing to do. The source checks out, so I'm all for gettin' this on the front page. Nice work! YES

Fun source choice, and honestly it's a great approach - it does lend itself well to the trance genre. The arrangement does some interesting things with the track, keeping things fresh with some subtractive arrangement midway & some fun new textures built on top of that, to boot. The ending is lackluster - almost sounds like the track is incomplete - but that's a pretty minor complaint in comparison to the strength of the rest of the arrangement itself. The production doesn't have any immediate red flags (like clipping, unintentional overcompression, etc.), but the instrument choices don't do any favors for this one. The bass is strong, but the accompanying synths don't do enough to fill the rest of the soundscape. The filtered sine arps used as texture barely have presence, the pads backing don't nearly fill the background enough, and the piano (which can nicely fill the upper end of the soundscape) sounds like it's run aggressively under a lowpass. There's plenty of space in this soundscape to let more highs pass through on this, since as is it sounds empty and dampened throughout the entire track. Either some more rich instruments should be used or the instruments present should be better utilized in order to better fill the mid/upper range of the soundscape EQ, as right now it sounds like a solid skeleton to a fully fleshed out arrangement rather than a fully realized remix. I like where you took this, I do hope to hear this get more fleshed out with the soundscape in mind on another pass! NO

The combination of this one is really good - the acoustic guitar blends with flute and e-piano so darn well. The electric guitar sounds very muted and doesn't blend quite as well and the timing of the notes is ever so slightly delayed, but it's not an unwelcome change in texture, regardless, which overall helps prevent the track's soundscape from becoming static. Some of the flute notes hit a half step sharp (like at 1:26, and similar instances), which is distracting when you know they're there (sorry 'bout that, y'all!), but otherwise the performances are quite good. A little jank here and there doesn't drag this nearly below the bar, though; I'm all for giving this one the front page treatment. Nice work from Reuben! YES

ReMixer Name: DS Real Name: David Sylvester Email: Soundcloud: https://soundcloud.com/ds_music_official Youtube: https://www.youtube.com/DSMusic394 UserID: 34014 Game: Star Fox 2 Arrangement Title: The Lost Legend of Lylat Link: Source: https://www.youtube.com/watch?v=7eM3_Tabpro Comments: I originally made this piano cover when Star Fox 2 was officially released on the SNES Classic since I was so hyped that after years of only being an unfinished ROM, this classic game could finally receive recognition for what it almost brought to the Star Fox franchise. In this cover, I tried to embody multiple aspects of the franchise, including the solemn sense of duty, the encroaching dread of invasion, and the overall action-packed Star Wars-esque vibes (with a little Star Wars easter egg thrown in too!), along with a look toward the 'future' with some melodic bits from the Star Fox 64 main theme blended in too.

Mmm, those are some tasty synths used throughout, and honestly the vocal clips from the game are some of the best in the business. Love me some Deus Ex, and I'm glad to hear it represented on the boards.

Ah, sniped by Meteo Xavier - took me a minute to figure it out myself, was gonna relay that info, lol. Thanks for giving the answer, here - sometimes questions like this one are missed.

Well, this IS certainly an improvement; the overall soundspace improved and some of the offending instruments (static & synth) lowered in the mix, and the stranger clashing notes seem to have been fixed. The arrangement still gets cluttered at 3:34 - 3:58, though, with the lead getting buried at 3:34 - 3:46. The dirty synths take up a lot of sonic space so they're naturally contributing to the muddiness of the mix whenever they're present. It would improve with some sculpting in the midrange EQ so they don't take up so much space, but I don't think the track gets sunk by these things, either. Nice to hear you come back with this. Muddy sections aside, I think this has a nice spot on the front page. Best of luck on the rest of the vote! YES

Yeah - when it comes to actual Greek modal music we don't have too many reliable ways to know how it sounded exactly (though I can definitely say it would be neigh impossible to apply to polyphonic music, as it predates it). Some musicologists have tried to interpret the symbols they used, but it's impossible to know whether this is how it actually sounded or not. The tuning of the instruments from antiquity and the Renaissance was also quite different out of necessity (particularly because of keyed instruments like the Organ and Harpsichord preventing Pythagorean tuning). Renaissance music utilized Mean-tone tuning, which restricted your ability to modulate as some keys were literally unusable garbage. We're leaving the realm of "short" explanation of modal music though, and honestly my education is getting rather dusty to delve into more detail than that, lol. The rules for counterpoint are varied, and the lack of harmonic structure rules do produce something that's different from tonal music, but honestly the rules we rely on today were codified in the Renaissance, and we've been touching around the edges for centuries after that, so to speak. Kinda why I could use that treatise on Counterpoint as a solid basis for my current knowledge of the subject.

I could give a short-short answer if it helps: Do not rely on harmony, stick ONLY to contrapuntal rules and voice leading, ignore the V-I (or V#-i) cadence, and end your music with the M6-Octave/m3-Unison sequence in the soprano/bass voices into the key-defining note on your final resolution (raising the 7th if that interval doesn't exist in your mode). While there's nothing particularly wrong with the Ionian and Aeolian modes, they actually came into vogue during the Baroque; Rennaisance music traditionally stuck with the Dorian, Lydian, Mixolydian and Phrygian modes. If you want to write GOOD modal music, rely on motifs in order to achieve cohesion and not long term harmonic structure, as "harmony" doesn't make sense in traditional modal music. Tricks like Canons and Fugues are useful tools to extend your music, but not necessarily required. Obviously that leaves out a LOT of details, but that's really the basics of modal composition.

I'm so glad I'm not the only one who found the use of Gangsta's Paradise so damn strange in that trailer. I mean, I think I'm still going to enjoy the Sonic movie (ESPECIALLY based on the trailer), all things being said - it looks like an absolute trainwreck, with Jim-fuckin'-Carrey going full 90's Jim-fuckin'-Carrey mode to *ahem* "carry" the whole thing in one glorious fireball, and let's all be honest, we all enjoy watching trainwrecks and fireballs from time to time. I think I might actually enjoy the Pokemon movie on it's merits as an actual movie, though, and not in the "Super Mario Bros" fashion that I expect to enjoy the Sonic movie. The Pokemon movie looks ridiculous in it's realistically stylish Pokemon, but it looks like it's putting a real effort into it's jokes and characters rather than just... well, being the joke.