Gario

You walk into the wind to counter it directly, so if you need to be careful you can walk to the side (which with the wind will push you diagonal), and when you get close to the edge you can hold up to stop. Run up until you have a comfortable height and then walk to the side again. Rinse and repeat until that section is done. It's slower than just running through it, but if you're having trouble it's more sound. It's been forever since I've played so I don't remember if the wind is constant or if it's periodic, so adjust the strategy accordingly. Best of luck, there.

Texas? That's a strong maybe, on my end. Not the greatest state, but it's one hell of a lot closer than the east coast...

Sounds similar to some west coast meet-ups that are organized by a few OCR/former-OCR peeps (most often Las Vegas, oddly enough) except those tend to be hotel meetups and not rent-a-mansions - those turn out to be really fun experiences regardless. I'll keep a tentative ear out on this; if it's a classic East coast meetup I'll probably decline, though. Unfortunately it's very hard to justify that travel cost / lost work time due to travel (same issue as I have every year, when it comes to east coast meetups and conventions). I'll keep my ear out on this anyway, though - who knows, maybe it'll work out alright after all. On a tangentially related note, Vegas has some good hotel deals at about that time, and MAGWest had plenty of opportunities for more personal experiences (like open jamspaces and such) when I went a few months ago, if anyone is interested in that too... I may or may not be trying to swing this so that I'd certainly be able to attend, though, so make of my stealth suggestions as you will.

Well, I submit something. Not something that I'd say was finished, but what I had was pretty cool so I submit it anyway. Nice to hear Jorito sub something too, though.

Hmm... I do want to participate in one of these. It's been... shit, forever since I've done one (EDIT: looked it up - PRC199 is the last time shit that's too long!). It'd be healthy if I get my arranging chops moving again, so let's see if I can get y'all something done in a week. Let's do this thing.

New submission! Contact Information Your ReMixer name - Jarsk1e Your real name - Jari Your email address - Your website - https://soundcloud.com/Jarsk1e & https://www.youtube.com/channel/UCagqtRw7xiJ52hIQ35eVO4g Your userid - 20309 Submission Information Name of game(s) arranged - Mega Man 2 NES Name of arrangement - Party Crashers Name of individual song(s) arranged - Crash Man Stage 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. I wanted to make ReMix from Crash Man stage and it turned to be a Drum & Bass ReMix this time! This ReMix is from 2016 and made with Renoise. Inspiration to this is drum&bass subgenre neurofunk, and at the time I made this I was into making neurofunk style tunes. It's always fun to try something new!

ReMixer Name: DS Real Name: David Sylvester Email: Soundcloud: https://soundcloud.com/ds_music_official Youtube: https://www.youtube.com/DSMusic394 UserID: 34014 Game: Undertale Arrangement Title: Gaster's Legacy Link: Source: Gaster's Theme Comments: Just a fun little piano arrangement of this spooky theme, mashing it up with other themes such as the Mario Bros. Castle theme, Hopes and Dreams, and Megalovania to add some interesting story to the arrangement (Gaster is Sans? Game Theory was right for once?!)

So let's see, this thing has 29 sources, from my count, being: Song of Time (OoT) The Creation (OoT) Main Theme (LoZ) Intro (LoZ) Sunrise (OoT) Serenade of Water (OoT) Minuet of Forest (OoT) Requiem of Spirit (OoT) Nocturne of Shadow (OoT) Ballad of the Goddess (SS) The Sky (SS) Power of the Gods (LTTP) Gerudo Theme (OoT) Ganondorf's Theme (OoT) Hyrule Castle (LBW) Deku Tree (OoP) The Legendary Hero (WW) The Great Sea (WW) Main Theme (BotW) Lorule Castle (LBW) Ganondorf Appears (OoT) Zelda's Lullaby (OoT) Farore's Courage (SS) Song of the Hero (SS) The Great Fairy Fountain (OoT) Fi's Theme (SS) Hyrule Castle (LBW) Ganondorf Final Battle (TP) End Credits (LTTP) Nice timestamps - this will be VERY helpful in the future, I promise.

I like this - the whole track is just oozing smoothness throughout. The lowpassed piano at the beginning is a great way to get the listener ready for the jazzy styled drums that come in at 1:11, and those pads make for a great accompaniment to the piano when things pick up. That being said, this isn't without it's issues. The piano's lowpass is pretty cool in the beginning, but with the rest of the instruments in the track being as bottom heavy as they are it would serve the arrangement well to open up the EQ range of the piano, if only to better fill the space. It's likely a stylistic choice so I won't count it too much against the vote, but when everything comes together the EQ range is limited to the lower end, which make the whole arrangement sound dull. More importantly, once things get started at 1:10, the rest of the track goes into autopilot, repeating the same melody line twice with some additional material behind it to give some variety. It's not quite copy/paste, but the meat of the arrangement does sound static, with the drums doing the same thing throughout and the piano, pads & bassline doing the same thing as they've been doing before. Don't be afraid to drop instruments from time to time, vary their textures and layouts, etc., anything to keep the listener interested once you've finished introducing all of your ideas past the 1:11 mark. Again, I like this - what IS here is well done. However, with so many recycled elements the listener tires of what you're presenting long before you finish. Oversaturated low end aside, this needs some more attention to the arrangement so that it doesn't feel so static before we can pass this. Changing instruments from time to time, dropping parts (like at 2:29), switching up the drumline, altering the textures, etc.; there are many approaches one can take to fix this issue. Good work so far, but it's not quite there yet. NO

Hi! I'm Jaimy Kortenhoff, a aspiring music composer and I've made some projects over the years. Music and gaming are my biggest passions therefore the two often collide. I wanted to make a library of music for people who appreciate them, so i decided to do it on OCREMIX. Ive been a long time lurker here but its time to contribute! Contact information: Remixer name: See4urSelf Real name: Jaimy Kortenhoff Website: https://soundcloud.com/see4urself User ID on forums: http://ocremix.org/community/profile/34885-see4urself/ (i presume 34885) Submission information: Name of games arranged: Dota 2 Name of arrangement: Dota Intimacy - A Mage's Curiosity Additional information about game: Dota 2 is a ARTS that took the world by storm. Coming from a popular mod for Warcraft 3, Valve created and expanded on the world of DotA. Dota 2 is available for free on Steam (PC, Mac, Linux). Composer of the OST is Tim Larkin. Link to original soundtrack: https://www.youtube.com/watch?v=rNaBUcSww1I&index=4&list=PLB856D5AAA4BC6A10 Own comments: Dota 2 has a incredible soundtrack. From bombastic classical war tunes to serene idle soundscapes. The idea behind this mix was to create the serenity on piano and build it up with some percussion. Something hopefully no one saw coming. Added lead lines rounds up the entire mix into something more complete. Hopefully this information is adequate! Hope to hear from you soon, With kind regards, Jaimy Kortenhoff

I'm glad to see this one was submitted - he was questioning whether he should based on the title of the arrangement (which used to be the name of the source), so I'm glad he found another title to work with (and it works pretty well, considering the lyrics). Overall, I think it's a really cool track: the rock ballade interpretation of that source is a solid one (even if it starts pretty conservatively with the piano and strings), and the vocals really add another layer to the track. The lyrics, while a bit down, actually hit on a pretty relateable topic, which I thought was quite well done. The sequencing of the other instruments (strings, piano), while not perfect work great as an accompaniment. Funny aside, that piano in the beginning almost sounds like the one used in the original source (I know it's not, no worries). Not a bad thing, just an interesting one. Stealing from my commentary on the WIP boards for a bit: when singing, be careful in your lower ranges. It sounds like you're straining in that range, which causes you to go a bit sharp and overshoot leaps. There are a few other spots where you over/undershoot leaps as well (like at 2:20), so it's something to keep an eye on. Also be mindful of your vibrato; while most of the time it's alright, it does get pretty extreme from time to time (like at 1:11), which causes it to get more out of tune than is stylistically appropriate. It's not terrible (most won't catch it on casual listening), but if you're looking for perfection it's something to watch out for next time. Most of the vocals line up well enough harmonically with the rest of the arrangement, though at 2:30 it clashes a little. Personally I think it sounds okay - it's not THAT bad of a clash, and in other contexts it would create a pretty interesting cluster chord, but in here it doesn't sound intentional. I'm not going to ding it much here because it's not THAT bad, but do be aware of the harmonies below when otherwise retreading melodic lines. The production of this is quite solid, with a pretty great mix to tie it all together. The vocals could use some improvement, but they're not quite a disqualifying element in my book, either. Watch those lower ranges and leaps next time, but this time I think it'd sound pretty good on our front pages. We'll see if the other judges agree - good luck on the rest of the vote! YES

Link to file: ReMixer name: Myrddin Triguel real name: Myrddin Journaux-James email address: website: http://myrddin.triguel.com userid: 35033 Name of game arranged: Secret of Mana Name of arrangement: Heavens Forgive Me Name of individual song arranged: Fear of the Heavens / Angel’s Fear (depending on the version of the game) Your own comments about the mix, for example the inspiration behind it, how it was made, etc.: I always loved the music of the game so I got the idea to make an album with Secret of Mana music as “real” songs with vocals and a more diverse structure instead of just being looped BGM. I want to keep the order of the OST and I get inspirations for the lyrics from the original titles of the songs in the game. There is already a version of this song on YouTube but for this submission I removed the sample from the original game, changed the title to an individual one and also improved the sound of the piano. I hope you enjoy listening to it as much as I enjoyed making the song. ____________ Myrddin Triguel Music ℅ Myrddin Journaux-James Phone: Fax: Email: http://myrddin.triguel.com

Oh shit, time for one of my absolute favorite 'Final Battle' tracks in any RPG to get some remixing love. Yeah, I said it; Bowser's Inside Story has one of the best final boss tracks out there, and it shocks me as much as anyone else. Great game, glad to see a really good arrangement of it finally. There's some really cool stuff in this one - those solo instruments are sequenced quite well, and everything is sounding crisp in the production department. The arrangement has some really great expansions on the source material, to boot - that slower middle section has some absolutely great reharmonization that adds so much damn flavor. The mixing in this one is catching me off guard, though. While all of the instruments are easy enough to hear, there's a lack of sense of foreground, middleground or background. Mind you, the arrangement isn't cluttered or overly crowded, but the leads often blend into the rest of the track, level-wise. It's not a crushing issue (since overall one can still hear everything that's going on), but it does feel a little direction-less in the mixing. Being a little more nit-picky, that trumpet sample at 2:12 has a hint of lead-time on it that makes it sound like it's off the beat by just a bit, making that lead sound sluggish. Not a big deal, but something to pay attention to next time. Yeah, I really like this otherwise. Mixing complaints aside, this is a really cool arrangement of one of my favorites. Let's put it up on OCR. YES

ReMixer Name: ZackParrish Real Name: Zack Parrish Email: Site: ZackParrish.Com User ID: 29013 Name of Game arranged: "Mario & Luigi: Bowser's Inside Story" Name of arrangement: "All That Remains" Name of individual song arranged: "The Grand Finale" Track was originally produced for the album "Harmony of Heroes: Final Smash". Prior to working on this track I had never heard of the game or listened to the music, but I really enjoyed this theme.

Oh, you submit it. Cool - sorry I wasn't able to provide further feedback beforehand. I'll give you a bit of a mini-eval here anyway, though. Yeah, that piano sample sounds better than the one you used before. It oddly sounds like the piano from the source, but I know it's not, so no worries. If you're curious, I personally think that it'll do alright on the panel. The vocals wavering where I said they do on here will cause some issue, but I don't think it'll be enough to earn this a NO on the panel. One other point is that the vocals at 2:30 don't sound like they line up with the harmony. It's not a BIG deal as it doesn't clash that hard, but it does sound a little strange at that point. Don't want you to see too many surprises come up on the panel when it gets there. Otherwise, hope it does well!

HEY, Deia, how'd YOU know what I think 'bout this track? Anyway, as far as this goes the sound design, while basic works well enough. The arrangement is clever, and it does a nice job keeping things fresh throughout. I'm not sure I agree that the production on this is up to snuff - the leads often sound like they're pushing everything else down when they get loud (like at 1:21, for example), which makes the overall production quality suffer. Even worse is when everything is fighting for that space, like at 3:20 and 3:42; Bring the wubs out and suppress the leads if you want to give wub love, suppress the wubs if you want the leads to shine, but don't try to put both on center stage, there. I think I agree with the other upsides & downsides that Sir_nutS provided, but the less than stellar production pushes my vote just to the opposite side of his. Lots of great things in this, but I think the leads need to be better balanced against the rest of the arrangement so they don't pierce so much and squish the track, and I'll need some mixing adjustment at the busiest sections so the instruments don't fight one another so much before I can pass it. NO

Quick note before I give this my two cents: even if you don't get a solid evaluation here, if you're going to sit on it anyway there's nothing to lose by submitting it. Just sayin', there's always the off chance that we're wrong, and worst case they'll give their feedback in a few months when you're less burnt out - a win-win, if you ask me. Just don't tell any of the other judges that I said that... *Ahem* EVAL You've got one clean voice, there! It's just the right type of voice for something like this. The backing instruments are quiet (perhaps TOO quiet at the very beginning), but they give the star of the arrangement the center stage. Being that the vocals are the most important part of the arrangement they've got to be damn near perfect. While they're good, they're not perfect - there are quite a few moments when your voice falls flat (specifically, at 0:24, 0:43, 0:47, 1:06, etc.), and a mmoent or two where it goes sharp (like at 0:50, for example). If willing, a little autotune would mask the problematic parts in a way where it was nearly undetectable, though, so I think you could get away without doing any more recording on this (as I'm sure you'd be glad to hear!). As is, it's a close call, but I would bet the parts that fall out of tune would get you a few borderline YES votes and more resub NO votes. It has a shot, though, if you're really burned out and don't want to touch this at all, but with an hour or two of autotune on the vocals in the areas that go flat I think this would be a pretty clean pass. Up to you, though! (By the way, the vocals are far and away good enough for a live performance - you'd sound pretty cool on stage with this!)

Heh, a year later I finally see there was some music theory going down in here and even got a call-out. What shame must I feel to have missed that! Here's a small Christmas gift from me to y'all (particularly @The Nikanoru @HankTheSpankTankJankerson) - an analysis from me, over eight years after the last one I did! Boy, sorry for that break! ... er, it's probably a one time thing, but y'know? Anyone else who has some really cool analyses of VG music should feel free to use this thread as their playground; it's what I intended this place to be, after all. Time to roll up some sleeves and dust off my analysis skills a bit. Using this link for reference, here's an analysis of the tonal structure of Star Fox 64's Meteo! Seeing that it's in 'E' (double checked against a pitch generator, to be doubly sure :P), that bass pattern that plays in the beginning betrays something interesting - there's a constant flat 2nd scale degree. More likely than not this is added for color, but contrapuntally it's always moving in an upward direction (when normally tonal music will tend to move toward where the accidental is going - lower'd notes move down and raised notes move up). It's not impossible to have this sort of thing in chromatic tonal music, but it's an unusual use of a b2 scale degree (even with a bII6-V#-i motion the b2 scale degree tends to move down to the #7). I'm not saying this is DEFINITELY a modal track because of it (there are very few truly modal arrangements out there), but if it were a roman numeral analysis would make no sense; modal music deals purely in counterpoint, since as a writing style it predates chordal structure as a standalone device. With that in mind, however, I will note that there is no important chord motion until 0:20 (virtually every scale degree outside of 1-3-5 are obvious passing motions, not significant chord changes), so to be fair to modalists out there this does start out pretty modal in structure, even if it's not idiosyncratic with the general modal style of pre-Baroque music. Even that change at 0:20 (which sounds a bit like a V43 chord to me - 2nd scale degree in the bass) it's a pretty weak chord - if one is arguing this is a modal piece of music it'd be easy to interpret this as a bunch of neighbor tones lining up together to make something that only looks like a V43 chord. Had it remained with a lowered 2nd scale degree I'd start to be convinced that this is indeed a modal piece, but the 2nd scale degree was indeed set to normal for a regular ol' track in E minor. Really cool modal elements in this so far, but a modal piece this is not. Arguably, though, this may still not be a tonal piece in the traditional sense, either - more on that in a bit. That little dropping line starting at 0:24, while not otherwise special (it's just a decorative little descending line), does illustrate the more common usage of a lower'd 2nd scale degree: it drops down to the tonic (or in some cases, dropped down to a raised 7th scale degree). Minor theory detour incoming: this is the entire premise of augmented 6th chords in relation to the dominant - having a raised 4th scale degree AND lower'd 6th scale degree (which, when the lower'd 6th scale degree is in the bass creates an "augmented 6th" between those two notes) creates a HELL of a lot of pressure for those notes to resolve into the 5th scale degree (normally leading to a pretty strong cadence). That's neither here nor there at the moment (the track isn't using an augmented 6th chord in here), but I figured hey, a little interesting non-VGM music theory on the side can change things up a bit. Not much else going on aside from that until 0:34. At this point I will say this is the first really significant chord change (to #III, or G# Major), and does it EVER hit you hard. With no significant harmony change prior, and with that degree of double mixutre (the combination of both primary mixture [borrowing from the parallel major] and secondary mixture [raising/lowering the resulting 3rd scale degree]), such a chord change nearly sounds like a modulation in it's own right (with the small jumps to #IV between). I can see where Hank's going with this: if seen as a modulation, then these would be acting as IV-V to the eventual tonic that is D# Minor at (since we're dealing with E minor initially, the enharmonic equivalent of Eb makes a little more sense strictly in theory - #7 makes more functional sense than b1) While it's a pretty cool detour in it's own right, the Schenkerian in me is resisting the urge to call this a full modulation since the target chord not acting as an important chord change in a larger tonal TONIC-(PREDOMINANT)-DOMINANT-TONIC structure that defines tonal music as a whole. If the temporary focus on a different tonic doesn't create a structural section in a piece it acts as a tonicization rather than a modulation. Many use these terms interchangeably, but they're not the same (something I found out painfully upon repeatedly having it beaten into me at UNM...). In fact, due to the nature of VG music it's quite rare to experience a true modulation - most VG music doesn't extend to longer structure pieces to justify the use of that tool (with perhaps FF6's Dancing Mad being a possible exception - I'd have to check that for myself to be sure). In an interesting twist, we don't get any more chords at 0:43 for a while, as the bass, melody and textures all double one another at this point, though it can be implied that the chord is D# minor due to both the tonicizing chords prior and the fact that the F# (the 3rd scale degree in D# Minor) steps down to D#. Without the notes in front of me it's tough to say definitively, but from there the notes seem to be making motions to reset the piece back to the tonic again (the bass gives hint to this: when it stops following the noodling of the melody it lands first on G [3 of E minor], followed by D [7 of E minor]). It's clumsy in my humble opinion, but it gets the listener back to E minor once again, ready to loop the song. With all of that in mind, I would argue that this song isn't tonal in the traditional sense at all - it never functionally moves to a predominant or anything that even resembles a dominant. I'd love to say that it was diatonic, but that's not true, either; there's so much mixture, tonicization and chromaticism that it's hard to ever really define WHY we consider this in E minor. It's not modal, but it's certainly contrapuntal (that is, it follows basic rules about voice leading), and it's certainly uses traditional triadic and tetradic chords (in other words, it uses the basic major/minor triads and the rudimentary 7th chords that follow). Yes, folks, I'm going to make the argument that this is an non-tonal piece. *GASP* Settle down, folks - we're not talking twelve-tone atonality, here. This is more an example of where the late-Romantic/Impressionist period handled tonality - with utter disregard! When a song dances around a central note/chord with otherwise nonsense harmonies as far as harmonic structure/circle-of-fifths is concerned, you'd normally classify it as a centrist piece of music. It's not "tonal", so following harmonic patterns is nonsense, but it's not purposely avoiding a tone center, either (like Schoenberg or Webern did in their time). It's something in between - a note (or notes, in the case of bitonality) is obviously the reference everything else is taken from, but it doesn't utilize harmonic form to structure the piece. Pretty cool stuff, here.

RebeccaETripp Rebecca Tripp http://www.crystalechosound.com/ ID: 48262 Game(s): Secret of Mana Song Title: Colours of the Winter Sky Songs Remixed: What the Forest Taught Me, Color of the Summer Sky, Fond Memories Comments: The arrangement was done by me, but the winds were performed live by my friend, Greg Orosz, AKA Gamer of the Winds (he’s agreed to this submission, here’s his youtube channel to credit him: https://www.youtube.com/channel/UCQFIzKI61fxibPgfPKeJQxw ).

Ooo, this IS pretty smooth. Not as familiar with the soundtrack personally, but upon a quick listen and comparing it to this I think I can hear enough in there. Might be beneficial for someone else to check, though. As far as the arrangement otherwise goes, I like the two contrasting parts that act to divide one another up - that piano part and that jazz synth work - though the piano part is too quiet in comparison. Ideally, if we could get something that's about twice as loud for that piano part that would be ideal. That ending is also pretty weak - fading out on new material is always such a tease. The production on this is smooth, like the arrangement is. During the synth jazz parts the melody tends to be mixed behind the rest of the arrangement for some reason, but it's not a debilitating issue in it's own right. Otherwise... yeah, I like the production on this. I can see some issues that might get this held back by other judges, but I think the good outweights the bad, in this case; I'm all for a postin' this. YES

This is a remix I made for Another OverClocked Christmas Album Vol. 11. Whoah. Source: https://www.youtube.com/watch?v=VJsviRJ4voc ReMixer: Ridiculously Garrett Name of game remixed: The Legend of Zelda: The Wind Waker Name of source remixed: Outset Island Title of ReMix: “All I Want For Christmas is Grandma’s Sweet Elixir Soup" I figured hey why not submit it. I’ll run my chances. It’s a fairly simple track. But it’s pretty jammin, you know?

Definitely a different approach taken, here - it's a slow burning piece of music, which I can always appreciate. Furthermore, it's a good example of how to make a slow burning track remain interesting - that opening sticks with that same chord, but weaves different elements and effects throughout to keep it interesting, and that chord change at 0:58 sounds like a radical change due to how it draws out the first chord. The track moves faster from there, but I appreciated that opening quite a bit. When it picks up pace at 1:49 the track is standard, though it's still quite good. The introduction of the drums was a bit jarring (considering it there was nothing for nearly two minutes!), and that bassline crowds the midrange when it's just a repeating 16th. These aren't dealbreakers, but the drums could've used a better transition, and that bassline could've been lowpassed to clean up the overall mix. Overall, though, the arrangement more than makes up for some of these missteps. In particular, it does a great job taking the source in new directions with those harmony changes and new material layered over it from time to time. That arp handling at 4:31 - 5:48 is done particularly well, in my humble opinion. The sound design misses a tad with the above items, but I think it's clearly above the bar otherwise. Great work! YES

Hello OCR Judges Panel! I want to try and make a contribution to your awesome community. First up, a remix of a well known title. The spectacular track Aquatic Ambiance, from Donkey Kong Country. I'll surely submit more remixes in the future, it is an inspiring and fun challenge trying to get a "YES" from you guys. Contact Information: ReMixer name: Glejs Real name: Glenn Liljestrand Email: Website: https://www.youtube.com/glejsmusic User ID: 34608 Submission Information: Name of game arranged: Donkey Kong Country Name of arrangement: A Journey Through Grand Oceans Name of individual song arranged: Aquatic Ambiance My own comments and info: Aquatic Ambiance.. wow, it doesn't really need any further introduction. Might be one of the most loved pieces of video game music of all time, and therefore remixed a million times already. With my take on it, I decided to try and paint a story. The track takes you from the mellow start of "diving in", through passages of the original melody lines and arpeggios but with my twist to them. Also, some brand new original melodic elements and strings arrangements have been implemented. Might be a bold move, but I believe it fits perfectly. By the end of the song, you've reached the shore. Exhausted and glad you made it. Hopefully it was a fantastic, adventurous journey! All the best, Glejs (pronounced "Glaze")

We're open to posting things like this, but it would take quite a long time to post. If the issues that I brought up in here were enough to sway votes to a NO, it would take some time for the panel to reach that decision (possibly even years), by which point the artist will likely have moved on, dejected. Even with an unanimous YES vote it would definitely sit on the panel for some time prior to posting (longer than the average track). This potential issue is what the submission standards is alluding to when they warn "Anything longer [than seven minutes] and evaluation may be delayed." It's not impossible to post, nor does OCR reject tracks based purely on length. However, very long, complex tracks take much longer to review and submit than many short songs of equivalent length - that's just how a human volunteer panel on things like this works. I've got to keep it real on this front, since it does no one any good to say such a long track won't hit some bumps in the road upon submission solely due to it's breadth. Hopefully, some of my advice averts these particular issues.