Gario

Hey, I saw THX post that on Facebook. Pretty neat, and a great example of alleatoric music (a.k.a. chance music). You just look at that score and you can tell exactly how it's going to sound - a mess of sound that swings down/inward, then slides into a big, broad chord. Not something you'd think has a score, but then you realize that, yeah, they would've had to have some sort of performance in order to achieve that sound. Cool stuff.

Hi everyone! Your ReMixer name: ThePlasmas Your real name: Mauricio Castro Your email address: Your website: theplasmasvgm.bandcamp.com / facebook.com/theplasmas Your userid: 30081 Name of game(s) arranged: Castlevania III: Dracula's Curse / Castlevania: Circle of the Moon Name of arrangement: Baño de Sangre Name of individual song(s) arranged: Nightmare Your own comments about the mix, for example the inspiration behind it, how it was made, etc.: It was made specially for Viking Guitar's Danse Macabre 5 album, an album with a dark, spooky, terrorific tone. I love Castlevania 3 and Circle of the Moon, where "Nightmare" appears on both of them in very hard stages, those ones are my favorites.

Wow, now that's an upright piano, if I ever heard one; they really do have a certain characteristic to them that make them stand out. They're not as bright or clean as a grand piano, but for something as playful as this it's almost even better. That piano does need a bit of a tune-up, though. Again, adds to the charm in some ways, but give that piano some tunin' love! Anyhoo, performance is spot-on, and the recording is clean. The arrangement is definitely cutting it close to the 'Too Conservative' bar, though. I hear some flurishes that keep it interesting as it moves forward - moving that bass down in order to increase the density of the track as it goes on, for example - but it's still pretty close. I can see others voting the other direction on it's conservative nature alone, but I think this has enough character and juuuust enough variation to put me on the other side of the vote. I love me some playful piano music, so I'm on board. YES

Hi! I’d like to submit my arrangement of the Ending Theme from the Adventures of Lolo for the NES. It is not a remix in the traditional sense where any melody or chords or form is altered. It’s remixed in the sense that I’ve arranged all of the original notes (all three voices) to be played by one person live on the piano. I hope you consider my arrangement acceptable for OCR. Contact Information • 88bit • Rob Kovacs • • www.robkovacsmusic.com, www.88bitmusic.com • User ID: 23320 Submission Information • The Adventures of Lolo • Tresillolo • Ending Theme from The Adventures of Lolo • This is an NES game publish by HAL. Music composed by Hideki Kanazashi • https://youtu.be/eRxOcdLm2_8?t=1m4s • I got really sick one week and had plenty of time to play through this challenging game! I really liked the music and was kind of blown away by how intricate this final song is. And so few people have probably heard (compared to other video game tunes.) I want to help preserve some of the early music and performing music live is an important step for music to live on. The trickiest part in playing this piece is the speed, (repeated notes don’t work nicely on piano) and figuring out a way to get all three voices in two hands. The wildly jumpy bass part is also pretty tricky. Thanks for listening! Rob

EVAL Hey, I remember this one from the Meat & Potatos compo - I even gave it some praise, though I didn't believe it followed the spirit of the compo due to how liberal it was. For an OCR submission, though... Let's go through the good, first: the production is quite good on this! The crunchy percussion, the gating, the well mixed synths, etc., it all blends well, it's all easy to hear and distinguish, and overall it's quite pleasant to the ear. I mentioned before and I'll say it again, the variations on the theme are quite cool, too - lots of chord changes to keep things recognizable and yet familiar... periodically. While the composition has a lot of cool ideas, there are two things that do hold this back, as far as chances on the panel are concerned. Firstly, while for some portions the source is easy enough to hear, a lot of this (likely over 50% of the track) really deviates to the point where the source is impossible to hear, outside of the shape of the texture in the background. A rule of thumb that's often followed is if the source is clearly present for at least 50% of the track, and from a glance I'd suspect that this arrangement doesn't pass on that front. You MIGHT be able to make a case here, if you give some timestamps where the source is used, so if you feel I'm missing something then put out a timestamp and I can evaluate what you're talking about - I've seem minds change as far as source usage is concerned, but without a timestamp and an argument this'll probably be turned down on those grounds. The second issue that hold this back is the flow of the arrangement. As far as form goes, the track doesn't seem to have much direction or sense of beginning or end. The chords used, while great in isolation, don't make too much sense in sequence. This is a hard thing to "fix", though - considering it's so integral to an arrangement I can't give any suggestion that doesn't really come to "rewrite the piece". I'd say this'll probably get to the panel (well, it WILL get to the panel, I do the inboxing, lol) and get rejected, but I suggest making a timestamp to justify source usage and sending it off, anyway. While I have some issue with the flow of the arrangement, others might not, and if you can convince the panel that the track indeed uses enough source with a time stamp then you might have a shot on the panel. A long shot, sure, but a shot nonetheless. Best of luck!

Hey hey, Remixer name: Jorito Real name: Jorrith Schaap Email: Userid: 3899 Submission information: Name of Game(s) Remixed: Ancient Ys Vanished Omen, Ys III: Wanderers from Ys Name of Arrangement: Feena’s Premonition Names of songs arranged: A Premonition =Styx= (https://www.youtube.com/watch?v=VDsipkzkEPU&t=58s), Feena (https://www.youtube.com/watch?v=u6osyFmpABk) Link to the remix: Comments about the mix: Another remix I reanimated for the Ys 30th anniversary album (http://ocremix.org/community/topic/46281-recruiting-for-30th-anniversary-ys-album/). Originally I did this with fellow MSX composer Meits for a competition on msx.org, but because we were so late to sign up, it was very rushed, and frankly not very good. I always wanted to revisit this arrangement, because I felt it had potential, and the Ys album was a good excuse to finally give it the treatment it deserved. I set out with overhauling the piano, thoroughly changing the backing track/left hand part, adding variations and overall fixing a lot of timing and pedal issues as well as going for an overall more mellow, dreamy sound. In the original compo version, the piano was overpowering the entire mix, to the point of sounding distorted, and the backing parts were hard to notice. That part also got some serious work, with improved dynamics, some new parts, a few extra layers and some subtle added percussion. Overall I think it turned out well, and it finally creates this dynamic, symphonic opening prelude feel that was lacking in the initial attempt. Big shoutout to Meits for the original piano parts that I used for this track. It gave a good starting point, but I think I left no note untouched while fitting it to the new arrangement. Sorry, buddy Cheers, Jorrith

This is a great take on this source - somber and jazzy. I hear the sequenced drums (they're not bad, to be honest), but the other instruments are sounding great on this. The real strength of this arrangement is the overall soundscape, the excellent use of the instruments in this, and the overall quality of the performances. That saxophone playing in the beginning in particular is nothing to scoff at - shows off the agility of the instrument better than most arrangements I've heard on here. It loses track of the timing at 0:44, but that's a comparitively minor hiccup. The arrangement itself blends the two sources effectively, and it's not something I thought would work. The relatively original material in the beginning does a nice job building into the rest of the arrangement, and when things kick off the source is clearly there. Great work on that front. The production quality is pretty good, but it does have a few hanging issues. The stereo separation used throughout is hard panned, which is distracting when the separation is delayed by a beat or two. You get used to it after a few listens, but it's definitely distracting. It's mostly an issue from 1:03 - 2:06; elsewhere the panning & stereo separation is pretty well done. The swing beat at 2:06 is... hard to evaluate. On more than one listening I can catch what's going on, but upon initial listen it's pretty disorienting, especially with the hats and the rest of the instrumentation playing against the swing beat. You should either be committing more instruments to the swing so that the impact of instruments NOT swinging is more prominent, or just play the section with a straight beat. Either way would work fine, but barely swinging with half of the percussion just sounds like a mistake. This one is a pretty hard vote, on my part. On the one hand, there's so much that I love in this track, but there are also issues that are not small issues. I think my vote can swing either way, but for now I think I'd be willing to let this pass; the sections that are problematic don't take up the entire piece, and they don't necessarily sink the track. Good luck with the rest of the vote. YES (BORDERLINE)

By: M Benson (Remixer name) Mike Benson (Real name) Game: Final Fantasy 6 Arrangement name: "Dark World of Beats" Songs used: "Dark World" and "Another World of Beasts" I played everything in the mix except for the drums, which are sequenced. Hope you enjoy!

ReMix: ReMixer name: Vidilian Real name: Vidal Spaine Email: Game arranged: The Legend of Zelda: Breath of the Wild Arrangement name: Unholy Thunder Songs arranged: Aboard Divine Beast Vah Naboris (1 Terminal Active and All Terminals Active)

Honestly, you can't have enough of a great theme, so I'm always happy to see more Chrono Trigger theme arrangements. The arrangement is quite epic and all-encompasing, with some really high quality performances and synths used throughout. The reharmonizations and expansions to the theme are generally fitting and interesting, keeping with OCR's stated goal of reinterpretation. The production values are quite good in general, too, with the exception being the mixing. That mixing, though, is a real issue. The solid majority of the track buries the lead behind the SFX and harmonies (listen to 1:23 and 1:50 for easy to hear examples of this), which leads to the entire arrangement sounding muddy and disorganized. While I admit some of the experimental FX take getting used to, they're not bad upon repeated listenings. To be honest, the mixing is really the only issue I have with this, but it's unfortunately a deal breaking issue for me. I know you got the chops to adjust the mixing so that the foreground pops ahead of the middle and background, so I really hope to see this otherwise great arrangement back on the panel soon! -- (Edit 2018/09/07: Vote altered below)

Contact Information ReMixer Name: StormSkuggan Real Name: Joakim Stenmark Email: Submission Information Name of game(s) arranged: Chrono Trigger Name of Arrangement: Save The Future Name of Individual Song(s) arranged: Chrono Trigger Comments: This remix started as a fun side project among my school friends where each of us would make game music remixes for the Christmas holidays. I decided to take mine further and try to get it submitted to OCRemix. The song is a progressive metal rendition of the chrono trigger theme where one of the goals was to achieve that metal sound but without guitar. Instead, I used a heavily distorted Hammond organ for the rhythm section and synthesizers for leads. I experimented a lot with time related special effects and production, for instance on the piano and some percussion. I also Initially had sections at the beginning and at the end where music would speed by in reverse to signify time traveling which sounded really cool. The aim then was have a story of a hero fighting to save the future, failing and then reversing time to try again and again in a cycle. I ended up cutting it since I couldn’t convey the time traveling without making the song drag out unnecessarily. Anyway thanks for listening and continue being awesome!

Hi! My name is Peter Bobinski, and I'd like to submit a track to OverClocked ReMix! Link to track: Contact Info ReMixer name: Wyrgan Real name: Peter Bobinski Email: Website: https://wyrgan.bandcamp.com Submission info Name of game: Hyper Light Drifter Name of arrangement: The Crystal Guillotine Name of songs arranged: The Midnight Wood, Stasis Awakening, The Last General Additional info: Composed by Disasterpeace, released on PC/Mac, PS4 Original soundtrack: http://music.disasterpeace.com/album/hyper-light-drifter Comments: After releasing a few small projects as a post-metal outfit, Hyper Light Drifter came around. I was enthralled by its immersive, textural, and beautiful soundtrack. When I heard how the music in the west area of the game (specifically Stasis Awakening) was layered, I immediately got to work on a medley. The source material lent itself well to techniques heard in modern post-rock, like the ostinato lines and volume swelling in Midnight Wood as a buildup; but in heavier moments like The Last General where the percussion is minimal, I drew on some metal influences to really amplify its intensity. The piece overall highlights how mysterious, strange, and utterly dark the world of Hyper Light Drifter can be. Thanks, everyone!

To be honest, I think this a a great arrangement for such a limited source, and the production values are really good, to boot (some great use of stereo seperation throughout, making the track sound very full). The performances are great, and the SFX are well used. Nitpicking, using the flange on the whole track at 1:26 is pretty distracting. It's used elsewhere to excellent effect (like at 2:16), but on the whole track it's distracting. Could be just my opinion so I won't hang much on that. The rhythm guitar at 4:00 sounds like it hits a note a half step too sharp for the harmony, which while it doesn't afflict the track long does distract me a bit. Definitely nitpicking with those comments, though; overall the track makes for an excellent power ballade. The arrangement is top notch while being wholely recognizeable, to boot. Yeah, definitely should be on the front page. YES

Remixer Name: Redg Game arranged: Halflife 2 Name of Arrangement: Portal Storm (http://tindeck.com/dl/lxrs) Song Arranged: LG Orbifold (https://www.youtube.com/watch?v=8irRSLVYgFI) Sup ya'll. It's been a while. I'll start by apologizing for my complete absence from the judges panel. I have no excuse, life got extremely hectic and I was too dissected to leave a note or anything. I would not be mad if I am demoted. I'm subbing this old Half-Life remix I dug up. Some cool leads and solid production. This was one of the first tracks I sat down with and really focused on the mix. I spent a stupid amount of time tweaking this thing trying to learn the secrets of \M/ production. I think it probably makes the cut. I hope to be more active in OCR when I get my dumb life shit straightened out! These timestamps are original instrumental sections: 1:33-3:03 (90 seconds) 3:36-4:28 (52 seconds) That's 142 seconds out of 360, making a bit over half of the track representing source material which are the bass riffs and lead melodies. Peace, Brent

Contact info: Remixer name - Lily Arciniega Website - https://www.youtube.com/c/LilyArciniega Submission info: Game arranged - Silent Hill 2 Arrangement title - Memory Track arranged - True Comments - I wanted to insert some jazz elements into this track as well as give it a more definitive chord progression. This was also an attempt at getting better at mixing and mastering acoustic instruments since I mostly do electronic music.

Contact Information Yusou Deandre Lamar Pope https://soundcloud.com/yusou 28345 Submission Information Beetle Adventure Racing Funk Town Breeze Mount Mayhem n64, composed by Phil Western, Scott Blackwood, Brenden Tennant https://play.soundsgood.co/playlist/beetle-adventure-racing-soundtrack Nothin' much to say about this one except this game made me hate beetles because of all the cheat codes the ai used against the player which hindered you blasting past everyone to reach 1st place lol, but what I didn't hate was this very catchy tune on mount mayhem I've been humming it since I was a kid... I always felt like this was a more obscure game, but I could be totally wrong about that..this is what compelled me to do a remix from it because I don't think too many others are going too, but in this track I went for a quicker pace and added powerful strings because original song's strings were kinda omitted in the background a bit..I used a nice synth bass to replicate the funk guitar patterns and also I played a little solo near the end to keep the listener entertained...hopefully you all enjoy this as much as I enjoyed creating it.

Ooo, this is a pretty nice homage to Undertale, using the hidden track of Gaster as the glue that keeps it all together - I'm liking this idea. I do think it's odd to include SNES Bowser's theme in here (at 0:42), but it does sound pretty cool regardless. No rule against breakin' the game mold and expectation, eh? The performance is quite good, though the overuse of lower tones muddies the performance up, especially when the lower tones carry the themes. It's not bad, per se, but in combination with the overuse of the sustain pedal the clutter does add up (especially during the SMW segment, as MW said). It's not an EQ issue, though; it's a performance (pedal usage) and arrangement (utilizing that range excessively) issue. Not a deal breaker, but keep that in mind next time. That aside, I think it's a solid piano piece, and for the faults that overusing the lower end causes, it DOES create an overwhelming experience for the listener, in the best possible way. I'm all for this; let's get er' up. YES

Oh, we've got one back from the ashes here. Let's see what we've got. Piano arrangement, and the performance is solid. I tend to nitpick live piano performances, but I'll abstain from that this time - this is from 2015, so the artist's technique has likely grown since then. There's nothing serious to address in this; if anything, the slight timing variations make this piece sound more alive. The track is short, but it doesn't sound incomplete (the unresolved note at the end sounds purposeful, and it leaves the listener just a little uneasy - nice touch, in my opinion). It handles dynamics quite well, to boot; it plays the harmonies quiet, and it uses increasing dynamics to accent it's phrases nicely, as well as to make the melody pop in front of the harmony. I admire that quite a bit, actually. Yeah, I'm on Larry's side on this - it's short, but there ain't no rules against being short as long as it's a finished track. Let's get er' done. YES

Yeah, they did an amazing job on this one. Only reason I didn't DP it was because things are a bit slow on here; y'all need some new blood on here. It's really, really good, with clean production, clever arranging, excellent use of samples and some intense energy that doesn't get too overbearing. Absolutely great work, here. YES

Holy moley, is this a full blown Diablo II remix? Jeez, I've played that game more than I care to admit, and I have to say while the music in it is great and fitting, it ain't easy to arrange the non-Tristram music considering it's much more ambient than not. Full kudos for giving this some love, here. As far as the arrangement goes, I'll say that the source does seem to check out. I do appreciate the subtractive arranging that's going on with some of the themes in order to get some mileage out of them without getting too stale (like how the source is handled at 0:38, for example). You don't have much to work with, and you do a great job stretching those motifs. The introduction of instruments gradually throughout the track also helps breathe new life into the arrangement just before it gets too stale. The drums are serviceable, but unlike the rest of the instrumentation they feel like the kick just plods along for 75% of the track. There are some fills that change things up, and they aren't ALWAYS present, but the kick does just feel like it plods along with the beat, which gets boring over the track. It's not debilitating, but considering how the rest of the track does to prevent itself from getting static the kick works against you, here. The production is heavy in the lower end of the soundscape for much of the arrangement, but when it fills out toward the end it does a nice job filling that space. Otherwise, the instruments are all pretty crunchy, which sounds intentional in this case. Yeah, I like this, and I dig that you went for Diablo II, of all games. We need some more Blizzard love on here, I say, so let's get it up there. YES

Contact Information Platonist Jonas Loman platonistmusic.com 16372 Submission Information Diablo II Children Of Zakarum Docks Comments: Alright, here we go. I've been looking at this source for a while now, wanting to do something with it. I've been a massive Diablo fan since 199X, so why not continue my journey into slow EDM with another, even slower entry with this arrangement of Docks, a track that's in the original game but wasn't included in the soundtrack until the expansion release due to the time constraints of the CD format. (So don't be fooled by this; It's from the original Diablo II). The chromatic percussion (especially the marimba) didn't work well with the soundscape I was creating, so I ended up exchanging it for something brighter and more plato-esque(?), using the same sample for all percs. Working with Schism Tracker has its drawbacks. #NoEQ Breakdown: * The intro is loosely based on the first few moments of the source (atmosphere and some loose chords). I made it as tiny as I possibly could to make the buildup section feel more powerful when it drops at 0:38. * The buildup itself is based on the source's final section. * As for the theme / main part. This is one of the melodies that are recurring in the game, but IMO the context here makes it work as a Docks arrangement. I also super-imposed it on a slightly different chord line here, to give it a more chromatic feel. The extra chords are based on the fantastic augmented A 7th chord that appears once in the buildup to the theme in the source, making the tonal progression go from C# to B to A and then to A# / Bb. It's such an expressive line that I wanted to use it somehow; luckily, the second half of the melody fits over it! * That said, its introduction at 0:55 the chords are more similar to the original. * I also used the small interlude before that in the source as a breakdown after the main section instead, because i think it fits better there in this arrangement. Wow, that was a long write-up. Enjoy!

NOTE: I know this has voice clip samples from Deus Ex in it, which are prohibited due to Square Enix rules. However, I let the artist know about this, and he has responded acknowledging this and stating he will send us a version without said samples. Please evaluate accordingly, giving this a conditional YES if it passes. - Gario Hello, My name is Vittorio (Remixer name "Mothership Loudspeakerz", forum name "mothershipl", userid 35025), following this link (it's my private cloud, so no file expires until I delete it) you can find my remix submission: it's a drum&bass remix of "Versalife" from the Deus Ex soundtrack. It's the first time I submit a track to your website, so if there's any essential info missing just reply to this email and I'l be hapy to provide. Regards, V.

RebeccaETripp Rebecca Tripp http://www.crystalechosound.com/ ID: 48262 Game(s): Sonic CD Song Title: Dream Current Songs Remixed: Tidal Tempest (Present) Comments: Here’s a link to the song/file: https://www.youtube.com/watch?v=1VJLwJvn9PQ

Hello, Here is a new submission from Elrinth & PsyNES! Hopefully we'll get our second tune to OCReMix! Contact Information Your ReMixer name - Elrinth & PsyNES Your real name - Nicklas & Jari Your email address - & Your website - https://soundcloud.com/Elrinth & https://soundcloud.com/PsyNES Your userid - 12315 & 20309 Submission Information Name of game(s) arranged - Mega Man 2 NES Name of arrangement - Made of Metal Name of individual song(s) arranged - Metal Man 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. Been loving Metal Man's music ever since I first heard it over at a friend's place where he showed me Mega Man 2. I was blown away by how much it had improved from the first game. Now much later, I started making music for realz I came in contact with Jarskie (PsyNES) around 2009 or 2010 when I started using Renoise. We saw big plans after our first MM2 remix (FlashMan). We started working on the next track which had to be Metal Man stage because it is my favourite track among the boss stages. Jarskie had pretty much already laid down the foundation for the song and the sound, so I took the freedom of throwing around and arranging it a bit. As usual we throw the track between eachother every few days or weeks or however long it takes for one person to add changes. I had this idea that there would be metal works sounds in the track. So I searched like crazy online for free online anvil hammer sounds. So there's a couple of places in the track with that sound. We equilized that sound a great deal so it wouldn't become annoying. After coming around 70-80% completion Jarskie came up with the great idea to use some groove and it fit the song like a glove. I'm quite satisfied with the outcome and I wish I would take more time and arrange the rest of the MM2 songs as we initially had planned. -Elrinth

Ack, I thought the submission date was June 1st. Super sorry about missing it - I haven't been on the site enough to check periodically. I'll definitely vote, though - such a short source to do conservatively, I can imagine it was a tough one.