Gario

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.

Ah, he sent me the message too, glad to see he already got covered. Awesome.

I need to participate in this round, this track is just too good. Not to mention I've been playing lots of original Zelda over the past week upon discovering the randomizer online.

Hey, I got some real attention on this one, didn't I? Looks like there are perks to being the first responder to this the last time around. The issues that I had prior are more or less resolved - the section I said was not harmonious sounds fine now (it was the clash between the bass and harmonies, upon another look, and you changed that up there). The string replacement have a nice clean attack, which improves how they line up in the song nicely. The pitch bends are mostly removed, and those that are still there are toned down and don't ride the delay so hard. Yeah, I think this is in pretty good shape right now. I hear MindWanderer's issue on the mixing - the lead does get buried behind the bass and texture when everything is going, for example, and the bass comes in comparatively hard in the beginning - but I don't find it to be a deal-breaking issue. I think the release on the replacement synth is fine, though; it didn't seem to muddy things up too much for me. I can see this going either way on the mixing issue, but I think it's good enough for posting. Great work, thanks for the resub, and I wish you the best of luck on the rest of the panel! YES

Radical Dreamer is now known as The Author, though he isn't too consistent a presence anymore either. He DID direct a really cool FFX "Hurry" remix album where only one source was arranged many times (which both Darkesword and myself participated in), but I think the loss of his old towering post count (from +30,000 to <5,000 - more than even Atomicdog) may have been too devastating a loss for him on here. Ah well, he was pretty active for a long time, anyway.

Don't know him in person, but I know his music is great enough to actually have performances of it in Japan (I think he was the first non-Japanese composer who had that honor, iirc). I personally think it's a well deserved honor. Great VGM composer, for sure.

Oh, I can see the comparison here... Shoot. I mean, obviously work still went into it with the singing and such, but the part writing and pacing is pretty darn close (if not identical). I'm going to check the source and see if it's a case of both being closer to the source (in which case even if it IS a rip it's merely a coincidence), but otherwise I think this is the MIDI used to create the arrangement around, with only instrument replacement and singing over the sax line to differentiate. The biggest kicker is that the two songs fade out in exactly the same way (which was even a point of contention for us on the panel). We made the artist fix it, sure, but even now it still retains some of that same fade right before it ends on a crash. That's not just a coincidence, that's definitely ripping the MIDI off. I'm leaning on the side of removing it - it does seem to conflict with this section of our submission rules, even with minor alterations: It's pretty hard to argue that this didn't involve some heavy lifting from the other artist who wrote the MIDI in the first place, and it sure looks like we're not giving Monster Iestyn any due credit on here otherwise.

Oh, actual game music, would ya look at that. For what it is I think it sounds pretty solid, but you're looking for some critiques so I'll give you one or two nitpicks. The really does scream Rayman and the like, so great work on that. I actually like some of the melodic hooks that come in from time (like at 0:58 and 1:05), but they're pretty undermixed. Melodic moments like that really sound like they could stand out more in the mix - give the listeners something to latch onto, there. For most of the track it's more like great filler (fun and fitting, but no melodic action to emphasize), but you have a few great little themes that could come out in the mix better. To be honest, otherwise I think this is a great little tune for a playful jungle platformer - not too much else that I could hammer this for. Even without touching it I think it's in a great spot, so don't worry too much about it. Good luck with your GDC client!

Unmod? Hot damn, that was a while ago - I only joined the site shortly before that was nuked, and I wasn't on the forums until after the infamous event happened. Funny that you're asking if people from unmod are still around when off-topic is nearly dead as well - almost no one comments on random silly stuff anymore. Kind of a shame, really; Facebook and other social media outlets really killed the energy on this forum outside of OCR's more specialized focus (music production, games, music production in games). Oh well, even though I probably don't know you from the forums back then... Hey there! Hope you've been doing well over the last decade!

Everyone else said what was needed to be said (awesome use of MSX soundchip, solid production, fun arrangement, etc.), so I'll just say this: I approve of this, since it's fun-tastic and done good-ly. We should post it. YES