Gario

RebeccaETripp Rebecca Tripp http://www.crystalechosound.com/ ID: 48262 Game(s): Chrono Cross Song Title: Ancient Reverie Songs Remixed: Dragon’s Wish/Dragon’s Prayer Comments:

Oh, this is really quite good; you DEFINITELY could do worse for a first submission. It's criminally short - I really wish it developed further with the meloncholy original lead being backed by the strange source harmonies. The lead work is just gorgeous, with the delicate application of vibrato and portamento. The instrumentation, with the simple synths, sounds great with the lo-fi processing used, so great work on your overall sound design. The backing to this is pretty repetitive, even if it's a great backing. That's the trouble with arranging such short sources - at face value, if one uses repeats to lengthen the arrangement it'll make for a repetitive, stale arrangement. It doesn't feel TOO detrimental in this track due to the clever lead work above it, but if you were to extend this any further it would drag you down. Letting parts drop, mixing the instruments in different ways, re-order the harmonies, etc., all are techniques one can use to get more out of little, which I would encourage you to explore in this. The EQ range is pretty limited to the mid range, which leads to the track's soundscape sounding constricted. Explore using synths in the bass range, brighten one or two of your synths with some high end EQ; you've got the space, so don't be afraid to use it. It's a great little piece, but as it stands it doesn't feel like a complete thought, quite yet. The repetition in the background holds this back, and with something so short repetition doesn't do the track too much good. The potential is very high in this one, though, so I hope you can expand this arrangement further and send us an amazing, dark, lo-fi Candy Crush arrangement in the near future. Hey, if this is your first submission, I can't wait to hear more from you regardless! NO

Hi, Here's my first submission ever to OCREMIX. Google drive download : (Download icon is on the up right corner) Contact InformationYour ReMixer name : Clement PanchoutYour real name : Clement PanchoutYour email address :Your website : http://www.clementpanchout.com/Your userid (number, not name) on our forums, found by viewing your forum profile : 34601Submission InformationName of game(s) arranged : Candy Crush SagaName of arrangement : Candy CrashName of individual song(s) arranged : Main theme Additional information about game including composer, system, etc. (if it has not yet been added to the site) Original composer : Johan Holmström Candy crush saga is developed by King and can be played on mobile and browsers (Facebook app). It's a puzzle game released in 2012. Link to the original soundtrack (if it is not one of the sound archives already available on the site) Er, hard to find, sorry :/ Found this one : https://www.youtube.com/watch?v=wpjqJOVIBIs Your own comments about the mix, for example the inspiration behind it, how it was made, etc. I made this song for MusicWeeklies, we're a group of music composers and we compose music each week with a special theme. The theme was "candy" and I thought it would be great to make a cover of Candy Crush Saga main theme. These days, I'm usually into lo-fi composition, chillout music, so that's why I chose lo-fi synths and sounds for this cover. I hope you'll like it ! Thanks ! Regards, Clement Panchout, from France.

Haha, well I won't make any assumptions then about submission - it's always fun to hear more unrestrained interpretations, too. It's a fun little track, with a pretty sizeable shift in style in the middle and end. Individually I like each section, but the transition is virtually non-existant, and the sections couldn't be more different from one another (bouncy electronic into somber quasi-chamber orchestra w/ vocal clips). The section changes are quite jarring - either having a little more carry over or utilizing a smoother transition process would help this feel like a complete piece. I really enjoy the electronic parts. They follow the source quite accurately, though there's a considerable more bounce to them than the source does (which is pretty cool considering the source is pretty bouncy, as well). The somber portions are cool too, though the instruments would benefit from some humanization (e.g. playing with the parameters to make the performances sound 'more human'). For example, the strings would generally not have the same articulation for every note - swelling into the first note of a phrase and having the notes not swell for the rest of the phrase would be a more realistic portrayal. Also, in generall the use of dynamics for realistic instruments helps sell the illusion of realism. These factors don't make for a bad experience when I listen, though; it's more food for thought for your next endeavor. Nice work, and thanks for sharing.

Ah, well this is a different approach - full-on Renaissance. The small chamber group for orchestration with winds and strings helps bring this to life, and that percussion is absolutely on point as far as Renaissance music goes. Because of the bare nature of this track, though, a few common issues are coming through, and it's hurting this track quite a bit. The strings need some better humanization when it comes to their articulations - every attack seems to swell. Additionally, the vibrato is pretty stale, "vibrating" at the same rate for the entirety of the note. It sounds mechanical and strange, and it's quite poignant due to how exposed everything is. The mixing in this, while not bad, does seem unfocused for some of the arrangement. Sections like 1:15 for those uninitiated with the source material could lose track of whether the strings carry the melody or the winds due to how close they are in register and mixing levels. It's a very recognizeable theme so it's not unbearable, but it's something to keep in mind. It's a really fun track, and once again it's wonderfully orchestrated. However, this time around due to the particularly light orchestrating the humanization issues pop through quite a bit, dragging this down below the bar for me. Take a look at your string articulations, and tweak the vibrato so it isn't as mechanical. A quick pass on the mixing to make your themes pop out more would also be great, though it's not as large an issue as the humanization is. NO

RebeccaETripp Rebecca Tripp http://www.crystalechosound.com/ ID: 48262 Game(s): Legend of Zelda Song Title: The First Look at Gold Songs Remixed: Title Theme/Main Theme Comments: sort of a mix of Celtic and Renaissance styles

Well, this is a pretty cool idea - take an older track in the series, give it a more chill "menu screen" vibe as if it were to be a track in the new game. As far as composing soundtracks go, you've got some technique, and I like it. The overall source representation is clear, with some care to give a new spin to the textures from the source and make it your own. The track does repeat at the 2:00 mark, though, which is a pretty big no-no as far as getting it posted on OCR. I understand the idea if this were actually being used in the infinite soundtrack (loop points are important!), but for a stand-alone track it makes a third of the track sound like needless padding. The mix in this isn't ideal, either. While there is a sense of foreground and background, they're not quite seperate enough to prevent the leads getting a little lost in the supporting textures. It's not the worst mixing, but it could use another pass on the levels to help make the leads stand out more and the background textures sit further behind in the mix. Watch the soundscape in this, as well, since the lower mid range tends to get pretty crowded while the upper range is quite empty. The percussion at 1:14 fills the upper range nicely, but everything prior and after has a bit of a dull, lifeless quality to it due to lacking in the highs. All that being said, you definitely get your initial idea across, and aside from a less-than-ideal mixing job I could see this being a cool menu screen track for the Infinite game. However, one needs to consider that this is a site for stand alone tracks: a looping point isn't necessary, and in fact is frowned upon due to making a track needlessly repetitive on here. Change it up past the 2:00 mark so it's not as repetitive and give the mixing some more TLC and we might have something we can post up here. NO

Contact Information ReMixer Name: Chief Takinawa Real Name: Bradley Richardson Email Address: Website: https://chieftakinawa.bandcamp.com/ UserID: 34521 Submission Information Name of Game(s) Arranged: Marvel Vs. Capcom 2: New Age of Heroes Name of Arrangement: Infinitely Waiting Name of Individual Song(s) Arranged: Swamp Stage Additional Information: Composer(s): Tetsuya Shibata; Mitsuhiko Takano Platform(s): Arcade, Dreamcast, PS2, PS3, Xbox, Xbox 360, iOS Soundtrack Link: https://www.youtube.com/playlist?list=PLAF564D76FE2EA84C ReMixer Comments: ( )This remix was originally intended to be a concept theme for the upcoming Marvel Vs. Capcom Infinite's online lobby screen. I slowed the tempo down and gave it a jazzier feel as demonstrated by the keys and the "do-bop" vocals. The solo section is simple using traditional instruments and a more hip-hop ish drum break. Mixing and mastering to give it the highest quality I could achieve was definitely the most time consuming part of the writing process as always. Figuring out certain chords also took its toll on me. All in all I feel this came out nicely and I feel it would be enjoyed by several long time MVC fans as well as fans of traditional jazz type music. Thank you for your time! -Chief Takinawa

Hey there! Yeah, you certainly have two finished WAVs on there, so you have nothing to worry about. I'll likely send permission forms again considering the age of this project, but outside of taking another track (which I encourage!) you should be set. The project forums are still there, though I don't know why you'd lose access seeing that I can still get in there no problem. It's about time I get those running again anyway, so I'll ask the staff to start giving people access to that sub-forum (so get excited, woo). I guess it's as good as any to pop in and ask: Any new updates from our artists? There are a few that have given me regular updates, but there are a few that still don't have an initial update for me. It's a relatively relaxed forum on here for right now, but don't think I won't start really getting in your grill for some updates if y'all are that behind (or just drop your claim if nothing is sent in soon). July 30th is a pretty generous deadline, so I will absolutely not hesitate giving you the boot if you don't have your 1st WIP by then (and I'll be givin' y'all lip if you don't have your 2nd WIP in then, too). We're still live, so don't go slackin' in here!

Didn't submit (for shame!), but I did swing by and listen to everything and vote. Gotta give anyone who does FFL2/Saga2 music my support! Best of luck, all.

Chimpyzilla-kun requested a timestamp, so I'll provide it this time around: 0:00 - 0:48 - Chord pattern from source (that's the chord pattern the piano outlines with it's arpeggio) 0:48 - 1:00 - Piano directly from source 1:00 - 1:12 - Chord pattern from source 1:12 - 2:13 - Piano directly from source, with decorative elements to keep it varied and interesting 2:13 - 2:26 - Section directly from source 2:26 - 2:50 - Background squares keep track grounded with source from original Legend of Zelda (I'd count this as half source, since notes are held extra long) 2:50 - 4:15 - Piano directly from source 3:56 - 4:15 - Music box pulls from original Legend of Zelda source 243s / 255s = 95.3% Source Usage (Counting chord patterns as source, counting original LoZ track as half source) 183s / 255s = 71.8% Source Usage (Only counting direct references to sources) Not to press a point too hard, but seriously: there's virtually no moment in this track where source isn't present in some form or another. I know there's a lot of space that's filled in the arrangement where the source is silent or holding long notes, but let's be real for a minute: if the source has sustained silence or a sustained note for a measure or more, what's the arranger going to do with that otherwise? If the arranger compresses the silence or reduces the note length too much (reducing it past one measure if it's a measure or more longer), keeping all other things equal it's not going to sound like the source anymore, which defeats the purpose of making the remix. An arranger extending said notes or silences to pad for length is one thing, but using the source's actual long notes or silences shouldn't be held against the arranger in that sort of fashion. As far as my thoughts on this mix now, I do notice some of the SFX and vocal clips have been removed (at 2:26 - 2:50 specifically, but in a few places in the beginning and end as well), and some of the delays have been reduced, which helps this track stay better focused. The section from 2:26 - 2:50 is still overly crowded (mostly the piano strikes against the bass), but it does sound more bearable this time around; moments of messy mixing in a 24s section out of over four minutes doesn't quite count as a deal breaker, for me, when all else is quite well done. The vocal clips that are still there will probably grate on some people, but I think it's sufficient for the narrative style, here - it tastefully tells a story. As Chimpyzilla mentioned in the previous review reducing the SFX and vocals further would help focus the narrative better and give each clip more impact, but I don't think there's anything inherently wrong with the clips being used as they are in here. It's not for everyone, but that doesn't mean it should hold the track back. The arrangement has just enough to keep a sparse source interesting, the production quality is great outside of the 2:26 - 2:50 section, and the hip hop style is pretty awesome. I could use some more production clean-up (I'll probably request it from the arranger, in fact), but I'm not against getting this posted as-is, either. I have to say I agree with the sentiment that there isn't enough hip-hop on here, so having something like this will help fill that gap a bit. Nice work! YES

Previous decision Good Morning, I've removed some elements of the track for clarity and cleanliness. Thank you again for the feedback, and it would be a dream to have a track of mine posted on the best video game remix site on the planet. I've been a fan for years! v/r Joe Contact Information ReMixer Name: Joe November Real Name: Joe Thomas Email Address: Website: n/a Forum Profile ID: 34557 Submission Information Game Name: The Legend of Zelda: Breath of the Wild Arrangement Name: The Triforce Needs Five More Minutes Song Name: The Temple of Time Composer: Manaka Kataoka System: Wii U (I know it came out on the Nintendo Switch as well, but this was the system I played it from) Original Soundtrack: https://www.youtube.com/watch?v=mfHyKWnk9JU Inspiration: I absolutely love the minimalist piano used throughout the game, and the first area to really catch my ear was when I visited the ruined Temple of Time. I loved the haunting yet serene melody that you could hear, as if it it was reminded you of a great period of time that has long since past. I also love hip hop, and I felt like I could pay homage to the melody by merging it with a bouncy head-nodding beat and a funky bass line. The vocals and sound effects are used to simply add emotion and color to the track, so that those who've played the game can relive some key moments. The vocals also serve to tell a bit of the story of Breath of the Wild as well. The pace of the song attempts to illustrate when Link first awakes in the Shrine of Resurrection, learning of the plight of Zelda from the King, fighting (and dying) in numerous battles, acquiring the aid from the four champions to conquer the Divine Beasts, and marveling the power and the prophecy of the Master Sword.

Hmm, this is a tricky one. Honestly, this sounds like a first place Meat'n'Potatos arrangement with how conservative the track is, but I definitely have to credit this track for having a really rich atmosphere. The tone manages to evoke even more of a 1930's depression era mining town than the source ever could, especially with the rustic vocals and acoustic guitar throughout. The vocals are not perfectly in tune with themselves, but that's part of why they work in this. I could see people swinging either way on on the conservative nature of the arrangement, but I think there's enough personality and minor additions to the arrangement that makes this stand out. The biggest gripe that I have with this is how long it takes to get to the meat of the arrangement. It's a great start to the track, but by the 0:32 mark the opening was really starting to wear on me. Past that point there isn't too much that's added - it really feels like filler. I'm really on the fence for this one, because that opening isn't bad, it just lasts to long without change. The real guts of the arrangement is awesome, if a bit conservative. Cut the music from 0:32 - 0:56 and this would be good enough for me to give my thumbs up on. NO

Contact InformationReMixer name : Reuben6Real name: Reuben SpiersE-mail: Submission information Game: Donkey Kong Country Name of arrangement: Mining for a Living Name of original song: Life in the Mines

Ah, I do like quick resubmissions for good arrangements. My biggest gripes that were quick fixes were addressed in this resubmission, and the additions and variations sound like a great way to address the other concerns of this track getting stale over it's run. The piano backing was clever, and adds a great new dimension to the track. I was close to passing last time, and this easily addresses the issues I held against it. Well, except for the missed bowing at 1:15, but that's not a big deal - I understand not wanting to re-record sections for such a small error. Great work, and thanks for sending it back to us! YES

Old Decision Hello OCR judges, Below is my information. This is a re-submission of a track I submitted back in Feb and was evaluated in May. I increased the volume, rerecorded a section of the violin, fixed the panning issue, added reverb, and varied the accompaniment a bit. The information has not changed except the last sentence of the inspiration. Rodok. William Rhoden userid = 32400 Submission information. Game arranged = Legend of Zelda: Ocarina of Time. Name = Lullaby of the Desert Song arranged = Gerudo Valley Inspiration: I got into Gerudo Valley not by playing the game, but by hearing djpretzel arrange the track (OCR #368). It was one of the first OCRs I heard over ten years ago, and I was hooked. This is my third attempt arranging it for OCR, and I wanted to go a different direction than most. It is a simple track with live guitar and violin (both played by me), NI's Giant piano, and a simple Sytrus synth. I tried to think of what Ganon's mother might have sung him, if he had one. The additional LoZ themes are essentially Ganon's unfortunate dreams. As always, thank you for your continued support of video game music. Will

I didn't know how this was going to be approached, considering the source is so sparse. It's a smart choice, making variations with the chords that the source makes up with those short notes, and using the actual textures and sprinkling it throughout the arrangement. The overall track is smooth as silk, with that hip hop beat and well placed e-piano against the regular piano. The near seductive quality of Zelda's voice in the beginning paired with the title of this track made me think this was going to be unsafe for me to finish listening to at work, but it doesn't quite go that route (for better or worse). I think the SFX and voices being handled in this are a mixed bag. I enjoyed them in the beginning, and while they're a little corny as they continue to be used it's not too bad. At 2:26 the SFX really cause the track to get muddied up, though. Since it's all just Link and item SFX it would be pretty safe to remove them for the sake of cleaning up the production without losing the original intent of reliving moments from the game itself. Later in the track the delay that's applied to the clips is excessive, so I suggest toning that down as well for the sake of cleaning up the track. You do a lot with so little, and I love it. The only thing that's holding this back for me is that middle section and the muddiness caused by the SFX, which I consider a dealbreaker, so get rid of them and clean that section up to flip my vote on this. Toning down the delay on the vocal clips would improve this further, and lightening up on the vocal clips would help make this more broadly appealing for those that don't have the memories to fall back on (like myself - I haven't played BotW). Clean it up and send it back our way - it's otherwise a well produced hip hop track that I'd love to see on the front page. NO

Good Evening, Attached is my submission for a remix of "The Temple of Time" from The Legend of Zelda: Breath of the Wild. I have also posted this track on SoundCloud here: Thank you for your consideration. v/r Joe Contact Information ReMixer Name: Joe November Real Name: Joe Thomas Email Address: Website: n/a Forum Profile ID: 34557 Submission Information Game Name: The Legend of Zelda: Breath of the Wild Arrangement Name: The Triforce Needs Five More Minutes Song Name: The Temple of Time Composer: Manaka Kataoka System: Wii U (I know it came out on the Nintendo Switch as well, but this was the system I played it from) Original Soundtrack: https://www.youtube.com/watch?v=mfHyKWnk9JU Inspiration: I absolutely love the minimalist piano used throughout the game, and the first area to really catch my ear was when I visited the ruined Temple of Time. I loved the haunting yet serene melody that you could hear, as if it it was reminded you of a great period of time that has long since past. I also love hip hop, and I felt like I could pay homage to the melody by merging it with a bouncy head-nodding beat and a funky bass line. The vocals and sound effects are used to simply add emotion and color to the track, so that those who've played the game can relive some key moments. The vocals also serve to tell a bit of the story of Breath of the Wild as well. The pace of the song attempts to illustrate when Link first awakes in the Shrine of Resurrection, learning of the plight of Zelda from the King, fighting (and dying) in numerous battles, acquiring the aid from the four champions to conquer the Divine Beasts, and marveling the power and the prophecy of the Master Sword.

Huh, well this is an unexpected approach. Very spacious, but it isn't too empty for my ears, and the production is very warm and mellow. If I wanted to chill to Mario 3, this would be a great way to do that. The samples in this are pretty lo-fi. That's not necessarily a bad thing, but it DOES sound like a souped up Genesis track... which I guess is pretty interesting for a Mario game. The synths are generic, but I think they work in producing a particularly warm, delicate sound overall. That ending is pretty weaksauce. I like the instruments dropping out as it approached the end, but then it just... ends. Dropping the drums on that last chord would've helped considerably in making that ending more definitive - you had the right idea in how to approach it, but you didn't drop enough instruments to make that sound like the final pass over that phrase. It's no dealbreaker, but I did feel it necessary to point that out. It's a strange approach to the sources, but it's not bad by any objective measure. I could see this as a fun, quirky addition to the site. YES

Fxsnowy Adrian Bureu soundcloud.com/fxsnowy 25684 Super Mario Bros 3 Through the Clouds Underwater theme Athletic theme My original idea was a fun upbeat version of the underwater theme. I experimented with transitioning to the athletic theme and liked how it sounded. I used some FM synths, an 80's lead, an 808 and a bit of Latin percussion. Enjoy!

So many things come together in this that I absolutely love: Seiken Densetsu 3 music, dance, clever use of the source material, etc. I was bouncin' for most of this track, with a nice phat beat carrying the music well and a rich soundscape to compliment this. The production in this is a bit of a mixed bag. The big opening to this sounds great, and the quieter moments are well done. After the 1:21 mark synths start coming in with rather high release envelopes. The afflicted instruments change throughout the arrangement, but when faster moving elements are affected by the high release the music gets crowded quickly, which messes the experience up considerably. In something like this with such a rich soundscape you can't afford to have quickly moving synths that have such a wet release. A smaller issue, but the synth at 4:02 has some distracting panning involved, and the actual synth/sample used doesn't really fit with the rest of the arrangement - it's thin, it's never heard before and never heard again. At the very least, give that synth some more presence, since it carries the theme in that portion. I really enjoy this, but I think the crowding caused by the wet synths puts this below the bar, as the crowding can make this difficult to listen to. Handle the release envelopes carefully in this, making sure the mix doesn't get too muddy and I think you'd have a pretty awesome dance arrangement for us to post. Don't forget to give the lead at 4:02 some more presence, as well. Nice work, and I hope to hear this one again! NO

Hi OCRemix! I'm Batistella and this is Moonlight Dance, a trance/house styled remix of the song "Powell" from the game Seiken Densetsu 3. This game marked my childhood, specifically the area in which the original song plays in (Moonlight Forest). I felt the original song's style went nicely as a house rhythm combined with the melodic fundamentals of the trance genre, so I was inspired to remix the track! Link: The 192kbps .mp3 is also attached to this e-mail, if you prefer. Thanks for listening!

Slick metal going down on this one - it definitely sounds like an intense battle. I'm actually surprised I haven't heard too many metal approaches to this source before, considering how well it seems to lend itself to that style, here. While conservative in the beginning, the solos and (short) breaks in energy in the middle and the additional textures sprinkled here and there work to give this track some personality. The overall production has a few areas that could use improvement. Overall, the mix is quite loud. This being a metal track it's something I could normally overlook, but the rhythm guitars and bass really overpower everything else in this track (synth, drums), even when the other elements have some of the important themes that the guitar texture should be playing against. When the rhythm guitar becomes the soloing lead the overall arrangement hits a sweet spot that sound almost well mixed (considering how fitting it is for the guitar to be that far front then), but overall it leads to an arrangement that sounds unfocused. Balance your guitar work so that the other elements of the arrangement come through better, and tone down the bass a touch to give the mix a little more breathing room. The synth work in this is well fitting, but the sound design for them is plain, which makes it difficult to make them stand out. It could work as is, but considering there's also the issue of them not standing out enough I suggest trying to make synths that are more than saw pads. They often carry the most notable melodies from the source, so they would make more sense to stand out better. It's a tough one, since I think the metal approach fits this source like a glove, but I think the issues present take this below the bar. The mixing is the most important aspect to fix, so I hope to hear this with the rhythm guitar and bass mixing adjusted. Best of luck! NO

Dear OCRemix Team,In the link below you will find my metal cover of the song 'Last Battle' by Yasunori Mitsuda, Nobuo Uematsu, Noriko Matsueda, from the game Chrono Trigger.My ReMixer name: infinitytoneName: Karol KosackiEmail: Website: http://infinitytone.comuserid: 34463Game: Chrono TriggerComposers: Yasunori Mitsuda, Nobuo Uematsu, Noriko MatsuedaSong: Last BattleI hope you will like what you hear!Best regards,--Karol (Charles) Kosacki, Infinity ToneMobile: Email: http://infinitytone.com

Loving the surfer vibe that this exudes, with more of a Hawaii 'Hang loose' sort of flavor rather than the more intense 'Pipeline' flavor. There's a bit of classic rock thrown in with the organ carrying the chords, which is a neat little twist. Honestly, there's only one real issue that affects this track, but it's such a big issue that it bars me from passing it - that lead guitar is mixed so loud in comparison to the rest of the track, and the EQ is painfully piercing. It's an extreme issue that affects the entire track, making an otherwise excellent track into a painful experience (literally - I can't listen to this without pausing to give my ears a break every so often). I really enjoyed this simple yet effective approach, but that one issue is a problem. Please fix it up and resubmit this, since I think it's a solid approach that is otherwise well crafted. NO