Gario

Previous Decision Submission Download Link: Contact Information:: Your ReMixer name: Mercurius FM Your real name: Borigard Mercurius Your email address: Your website: http://mercuriusfm.com Your userid: 17383 Submission Information:: Name of game(s) arranged: Chrono Trigger Name of arrangement: Chrono's Fight Dance Name of individual song(s) arrange: Battle Additional information about game including composer, system, etc.: http://ocremix.org/game/16/chrono-trigger-snes Comments: This is a resubmission based on my original arrangement being too repetitive. I adjusted the arrangement, which has resulted in a tighter, shorter, more exciting arrangement. I wanted to resubmit it sooner, but my dad passed away last August, and I had a lot of things to do. So, finally I'm back, and here is my resubmission. For posterity, I've also included my original comments... Hi, long time listener and gamer... Been producing since 2005 and finally decided to start hammering out video game remixes because regular dance music has been boring me! This is my take on the classic Chrono Trigger Battle theme. The idea came to me after listening to the SNES soundtrack for the thousandth time... I noticed I was humming the bassline still. At this point, I began writing the remix and it transformed into an electro house stomper inspired by acts such as Soulwax and Justice, complete with heavy drums and a grinding bassline. It should be great for listening, and also for DJing since I've tested the track a couple times when I do my monthly video game event called Gamer's Paradise Party. Thanks for listening! Regards, Bo E. aka Mercurius FM Music Producer & DJ http://MercuriusFM.com

Hi everyone, hope your 2018 starts well! Name of game(s) arranged: Golden Sun 2 Name of arrangement: Au clair de la Lune Name of individual song(s) arranged: "Full Moon (Garoh)" Artists: Chernabogue ft. Furorezu (guitars) & Furilas (bass) Additional information about game including composer, system, etc. (if it has not yet been added to the site): Motoi Sakuraba / GBA 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=2pFQqT_851U Your own comments about the mix, for example the inspiration behind it, how it was made, etc.: This track from Golden Sun 2 sounds so sad, especially when you first visit that village in the game. I wanted to keep that sinking feeling as part of the remix while switching its genre and aiming for a slow rock arrangement. Challenging but super fun (despite the depressing/nostalgic atmosphere of the track). Major thanks to my partners in crime for their time and recordings! Link to remix: Hope it's all good -- let me know if I'm missing anything. Cheers!

Remixer Name: Nostalvania Name of game: The Legend of Zelda: Ocarina of Time Name of arrangement: Buy Or Bye Name of individual song: Shop theme Source:https://youtu.be/kx8af6vE3Rc Remix: Hi OCR! I'm back with another ReMix, and this time it's really something different. I actually made an early version of this track some time ago. It originally was meant to be like a parody of the shop theme from Ocarina of Time (Honestly, i just can't take that source seriously lol). Anyway, i always had the feeling that this has more potential than just to be a parody. Then i started to rework the track, added more variation in general and improved the mixing. The result is a funny mix of EDM, german folk music, polka, reggae and chiptunes. Admitted, it still kinda sounds like a spoof, that doesn't mean i wasn't serious about the musical aspects, though. I tried to keep it interesting by using different instrumentation, tempo changes, changing between binary and ternary feeling, key changes (four of them) and a nice accordion solo at the end.

Remixer: Miso29 Real name: Glyndwr Williams Email: Userid: 27317 Name of game: Snowboard Kids Name of Arrangement: Avalanche Name of Song Arranged: Big Snowman Composer: unknown Original: https://www.youtube.com/watch?v=zkH0qjQ8GNw Link: Comments: It's been a very long time since I did a video game remix and this year I really felt in the Christmas spirit. I had some downtime from band activities so I decided to do something a little more fun and personal. Snowboard Kids holds a special place for me, as a child the whole family would play it together. I wanted to keep the intro somewhat similar to the original to give the main melody more of an impact when it came in. The goal for the rest of the song was to make an over the top, bombastic power metal remix that really lifts your spirits. I took the original structure and added loads of drums and guitars (to make it metal), then I added layers of choir, piano, synths, bells, brass and strings to give the piece a more epic feel. I felt the piece needed a little more input than what I'd done so I created a solo section, it would need to shred like the kids do in game! Obviously to make it more christmassy I added some cliché sleigh bells through sections of the song.

Remixer: Avaris Shaun Wallace Chrono Cross Jellyfish Sea https://www.youtube.com/watch?v=QsTezaWM2BY&t=13s Title: Jupiter Jellie **** This is for the CC project. If accepted, please do not post until project is released. My main inspiration for this track was to create a moody laidback soundscape that paid homage to the original. As I was experimenting with different ideas I came across a lot of older trip hop songs. I felt the shuffled beats sounded super fresh. So I programmed a trip hop beat over the ambient bed of sonic textures. I instantly loved the vibe. From there, I reworked the song to highlight the hazey/ambient vibe with old school trip hop drums. Added in some ethereal vocals and you got yourself some Jupiter Jellie. Happy holidays!

Contact Information ReMixer name : Reuben6 Real Name : Reuben Spiers E-mail: Submission Information Games: Super Mario World 64, Mario Kart: Double Dash, Super Mario Odyssey Name of Arrangement: A Very Mario Christmas Name of Original Songs: Snow Mountain, Sherbet Land, Shiveria: Town (Snow Kingdom)

Not too much to add on this one. The style is clean, and the energy maintains itself throughout the track. The source tune checks out, certainly, though it does a nice job using more-or-less original material to build momentum in the beginning. While the soundscape sounds light, there's a lot of cool texture work going on under the hood that really does elevate the track overall. I like it, and I think other people will, too. YES

There are some new, richer chords incorporated in the track, and the instrumentation does have some cool variation periodically (the celesta being replaced with the vocals, the interesting drum work, etc.), but overall the arrangement sticks with the source material a little too faithfully for OCR. Most of the instruments used are similar, if higher quality, outside of the jazzy chords not too much has changed in the source usage, and the structure matches the source close to one-to-one. The production quality is borderline solid, though it does get muddy when all of the instruments are playing at once (like at 2:32). As far as learning how to balance acoustic instruments, I think you've almost got the hang of it based on this track, so I think you accomplished your goal. While a pretty good listen, it's not something that we can post on OCR. Appreciate the submission, though. NO

Talk about a slow burner - damn, I really love how this one takes it's time with those sparse elements. I can see how that might not appeal to everyone, but as far as I'm concerned bring on the slow-builds, baby. The dissonance used throughout is just tasty icing on the cake, but then again I do love some well used harsh tones; too much consonance gets boring, for my ears. When everything comes together I can hear the issues of the track getting too muddy, which only gets hindered by how much it contrasts with the prior, more sparse build-up. In combination with how wet that guitar reverb is, it does make the heavier moments difficult to follow. That being said, I appreciate the high contrast from sparse/quiet to full/loud; it's a great way to wake anyone up, and it makes the intense moments all that more intense (even if it also works against your favor in emphasizing the muddiness). Overall, I really, really love this one; the arrangement is intense and subtle all at once, and aside from the muddiness concerns it's an easy pass, from me. Great work, and I hope to hear more from you! YES

Yeah, definitely tonally different from the source. What can I say, that's kind of what OCR's all about, in some ways, so nice work on that front. Listening to this on headphones, as well, I can hear what Larry's talking about on the panning being very wide, though there doesn't seem to be any moment where the panning gets unbalanced and distracts headphone users. Concerning the rest of the production the lead guitar could've had some more high-end EQ to help it stand out better, but other than that nitpick it's well within OCR's par. The source usage... I had to go back and listen to the source after listening to this, since it's so outside of what you expect, but it's certainly all there. I'm pretty impressed on just how different this sounds from the source while still technically having the source in there. I can see what others have said about the second half having quite a bit of similarity to the first part for some time, but I don't think it's an issue; the portions that are "repeated" are done so in a different, higher key, which makes it sound like an anthem's callback rather than just straight repetition. This is a solid arrangement; let's get er' done on here. YES

Well then. Good thing SD3 is an ARPG, then.

That's criminal. Bare minimum, you need to play through it three times for the different story line progression possibilities, as well as a few times more so you can experiment with the various character progression possibilities that one can experiment with... Probably the only game I've run through more than FFV, which is actually kind of scary, all things considered. EDIT: Oh yeah, awesome album, everyone should check it out, and all that jazz.

Hey everyone! Just going to come out as a (former) Magic junky, and see if anyone else is eye-ing the open beta for this. I've been playing the closed beta for the last month, and I can personally verify that it's actually pretty darn good (really darn good, actually). I'll be looking for a few friends to play with (now that they're implimenting a friends list), so I figure hey - may as well see if there's any interest on here. Due to the (final) account wipes coming on the 27th (right as the open beta begins), people will be playing on a relatively even playing field, so there's no better time to give this a shot than now. If anyone's a former MTG player, a fan of other CCG's (like Hearthstone, Eternal, etc.), or just want to dip their toes to the expensive world of MTG without spending any money, give this a shot. If there's enough interest I could list people who are playing on here, see if we can get a group goin'. Download the client here. Details on the open beta here.

Loads of variety on the best of this decade - says a lot about the quality of games that have come out over that time. In this decade, I don't think I've played a game that has had quite as much impact on me as Persona 5 - the art, the music, the story, the characters - that game is just phenomenal on every single front. If y'all haven't given that game a shot do yourself a favor and get on it, possibly the best RPG I've ever played.

Well, sure - we used to own a PSP (the battery went bad, kinda ruined the system), and if I really wanted to I own an OUYA (yup, I do still use it) that runs Playstation games to an alright degree. Just sayin' if I'm going to own one of these anyway, I'd like to put whatever games I want on the darn thing.

I wonder if the console will be mod-able, like the NES classic and SNES classic are. My fiance is giving this a solid eye for the holiday season so I might end up with one, and I wouldn't mind doing a run through Legend of Dragoon on it if that's the case, lol.

To be fair, I do think Zircon has a degree specifically in music business and production, so he does in fact have a solid foundation in that area. I doubt he'd say that has nothing to do with his level of success.

Ehhh... Whether or not it happens with one person really doesn't say whether or not it's something that will happen with everyone. Zircon is a talented guy, and he's really made a name for himself outside of OCR with his music and business (which is a pretty awesome feat, by the way), but for every Zircon out there there's plenty of people who have Willrock's experience of virtually no audience transfer. I'm sure having an audience for your arrangements doesn't hurt your chances as a popular musician and/or accomplished composer elsewhere, but there's evidence (at least in this thread, anyway) that it can be a pretty insignificant boon for your other endeavors. A combination of how good you are at marketing and networking is more likely going to give you better luck in having a large audience for your original work than having a large audience for your arrangements, I suspect, which Zircon also has quite a knack for. I understand that it can seem fruitless to logically discuss something like whether or not audiences transfer from one person's composition styles or not, but let's be honest - that's a pretty relevant thing for a lot of arrangers who want to make a living off their music in the future. Whether or not the audiences transfer from your free releases to your work that you profit off of could easily impact whether you're willing to arrange video game music, in the first place (which is how this topic cropped up in here). If someone could crack that nut and figure out how to effectively transfer their audience, that'd be a very useful thing to know. It's at least an interesting and relevant topic to discuss, imo.

If SMK Rainbow Road is the selection, please put me down for it. I will smash that source right down.

Larry thinks it's anything that uses source less than 50% of the time in the arrangement. I kid, but it certainly is an interesting question. I remember ages ago where Deadmou5 accused someone else of "stealing their material" because the song in question used a similar chord progression to one of their songs ("Some Chords", I believe), and the community was pretty split on it. I was of the belief that chords are universal, but I was havin' people accuse me of not being a musician because of how wrong they thought I was. Oh boy. So yeah, there is a level of subjectivity and culture laid into that question. I'm personally of the opinion that there is nothing truly new and original in tonal music, so if the music transforms a theme or source even a little bit I consider it something new and interesting. However, that's coming from a musical nihilism of sorts - the belief that since nothing is original anymore, everything becomes interesting and worth listening to in it's own right, regardless of how small the variance. Hell, even different performances of the exact same piece can grant a keen listener a very different experience, as long as you don't hang yourself up on the originality of it too much. That certainly doesn't cover any legal definitions of when something becomes the arranger's own piece of copyrighted music, but as far as I'm concerned if you're putting your own spin on some music (changing genre, re-arranging the themes, etc.) that piece philosophically becomes your own.

I'm a fan of your music. :3 Yeah, I don't remix much anymore (I tried to force myself to do so in a compo, which was a crushing failure), though I consider this a temporary affliction. The combination of work ramping up and my computer literally aging itself out of the ability to run my music programs (as in it doesn't have the capacity to play my music back anymore, outside of some really basic shit) has put a real damper on my progress. When I finish taking care of some essential purchases for my new apartment, though, I do plan on fixing this issue. You hear that, Prophetik? I'mma be coming for you and your computer building skills... soonish.

Hmm... Well, I'm willing to go back and re-listen to the track with this in mind, especially since I actually really did enjoy this arrangement otherwise. I'm sticking to my guns on my criticism, though, since that remains unchanged - the mixing of the leads is consistently problematic throughout the track, often getting buried completely. However, looking back at a few other decisions I'll check to see if this is actually a deal-breaking breaking issue. Looking at this from a different perspective, while the mixing is problematic throughout, it's oftentimes a bearable issue, only really burying the lead at 1:23 - 1:46 and 1:53 - 2:30 (2:30 - 2:40 the lead is an octave out of the range of the background, helping it stand out). Much of the rest of the track the lead, while not being mixed much differently, does stand out because it doesn't share the same register as the backing instruments. For those paying attention, this is often an easy fix if you're having issues with the lead getting buried in the middle/background: just bump the lead up an octave. Seriously, this can fix the issue about 50% of the time, since often it's less a mixing issue and more of a crowded EQ range in a soundscape. It's still a mixing issue here, sure, but having it share the same soundspace as the accompaniment really compounds the issue. Rather than being an unbearable issue throughout the track, it's closer to being a noticeable issue throughout, with it being really problematic for about 20% of the track. Yeah, I think I might've come down a little too hard on this the first time around, but please pay attention to how you mix your leads in the future in order to save your future projects from such discrimination. YES

Well I can definitely hear Larry's issue with the source being primarily in the background of the track in the first half of the track. I'll never criticize a track for having the source in the background rather than the foreground, but I will point out the weak, almost GM-like quality of the instrument carrying the source at that point. The instrument quality is even more apparent when it's exposed at 1:40 - it's just thin, and it doesn't blend well with the relatively high quality instrumentation of the rest of the track. The performances are pretty darn good, and the arrangement is solid, for sure. I can say outside of the strange choice of source carrying instrument throughout the first half there are some great, haunting SFX that are used to great effect. Production quality on this one is a mixed bag. The first half, while having some concerns with the actual sample quality is mixed well enough, de-emphasizing the source for effect (which was kinda cool). The second half of the arrangement has some mixing problems, though - portions where the lead should be popping out (like at 1:58-2:14) are getting buried behind the rhythm guitar, and the doubling at 2:45 makes the lead sound like a muddy mess. There's definitely something here that would be amazing with some polishing up, but there's just too many things going on at a time that hold this back to justify me giving this a thumbs up this time around. Upgrade the instrument carrying the source in the beginning of the track to something more appropriate to the quality of the rest of the track, and clean up the mixing & muddiness and I'd give this a clean pass. NO

This is definitely different. Ironically, this was submit way back when Dubstep was a new thing, and he came back over five years later to complete the track when it now feels like a callback (it was too short upon initial submission). I've got to hand it to him to come back to this one, he did a great job on it overall. There's quite a bit going for this one, to start with. The production values are very high, first and foremost, and the dubstep hits you hard (in a good way). The FX used throughout are all well implimented, as is the use of space overall in this. The use of space in particular does a great job keeping things clean. The arrangement of the source is... interesting. The source implementation gets pretty stale over the three minutes that it's present, as that main hook plays almost unaltered over a changing background. It isn't bad, per se, but it could've used a little variation without losing the spirit of the arrangement, just to keep it interesting. Other than that minor complaint, I'd have to say the source is pretty well represented throughout, and when it's not the main portion the source is handled in a variety of ways, from being the foreground to accompanying original content in the background. I'm glad to see you come back to this one - I think you'll make a fine addition to OCR's roster! YES

CONTACT INFORMATION: Maksim Ezavskih SUBMISSION INFORMATION: name of game - Yie Ar Kung-Fu name of track - "Kung-Fu Step" Konami, 1985, Miki Higashino COMMENTS: Well, it all happened spontaneously. I've been enjoying the music from the OC ReMix community for 8 years. I was fond of this game in my childhood because it was one of the first game that i played. I have never heard remixes on this melody, so i decided to make a contribution. I found it interesting to transpose this music in dub step style, which is in trend today. I had a CD with samples from Vengeance that I used to write the track. I didn't suspect that it would come out so fancy. I hope you enjoy it! (New Comments) Hi! It's been about 5 years since my last message. In the end, I found the time, and the most important is inspiration to finish the work on the track. I tried not only to extend the track time but also to diversify the structure of the track. I hope this time everything is going to be all right about track. I set the goal to be in the ranks of OCREMIX