Gario

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

Hello dear Judges, hope you're all doing well. Remixers: Chernabogue (arrangement and production), Furilas (bass), Furorezu (guitars) This track was originally made for Tuberz's Sonic Adventure project but the project itself seems to be in limbo mode for now. I still decided to finish that remix, inspired by surf rock and rock ballads, making the original way calmer than it is. Big thanks to my two collaborators for recording this one! Remix name: "Big Fish" Original track: https://www.youtube.com/watch?v=3a-wzbt-A_s Link to remix: Thanks and cheers! Let me know if you need anything else.

Oh shit, this source. Daaaaaamn I might not have time for it, but I'm glad to see so much representation for it. Good choice!

Oh hey, TWEWY remix incoming, eh? I gotta give you props for giving that source some love - one of the best soundtracks and games out there. Hard to believe ten years later and we don't have remixes for it on OCR yet... Alas. Nice approach you have on here, though - I like it. I'm listening on my phone (you could even say I 'woke up' to it, lol) so I don't have the equipment to give constructive advice. Ah well, always great hearing people giving TWEWY some love.

This is certainly a very intimate piece, to mirror what my colleagues have said, which is pretty awesome. I love bombastic, but it's nice to have something that takes a break from that, as well. The overall warm tone to this has the effect of sitting in a bar and listening to a small sextet. MindWanderer brings up a good point on the fade out ending, in that while it's actually a pretty good use of it, it DOES take some of the illusion of intimacy out of the track, which hurts it a little bit. Not nearly enough to knock you for, but just ending the line on the last note before repeating the phrase would've been a more realistic (and therefore satisfying) ending. The mixing balance could've used a little more TLC, as well, as the string trio seems to be drown a bit by the other parts. They're still easy to hear, but they seem to be more in the midground rather than the foreground of the piece. Neither of my misgivings drag my otherwise positive opinion of this track, though - it's warn, it's personal and it's full of soul. Let's get er' up on OCR. YES

This definitely has an otherworldly feel to it, which I've got to appreciate (considering it's the Moon, called the Universe, etc.). As far as theming goes, you nail this track. The orchestration is spacious, and the pointalism sounds... well, on point. Most of your instruments are well orchestrated and sound properly humanized, but I can't ignore the strings that are often the focus of the piece - the articulations are poor. Each note swells into the next, which sounds strange considering it often carries the otherwise sweeping melody. It's especially noticeable at 0:58, but it's an issue rather consistently. The choice of vocal sample at 2:52 is also pretty fake sounding against the rest of your samples, but it's strangely fitting considering the theme of space and all. Overall, it's still a pretty easy choice for me - the arrangement is brilliant, the two themes go very well together, the orchestration is out of this world (yes, I did have to do that), and the track takes care to keep things interesting at every turn. Easy vote for me, but do pay attention to your string articulations in the future. EDIT (05/31): Just a quick note on the brass at 0:22 & 2:14, whether or not one agrees with them, I saw them as intentionally sounding that way considering how wonky the source sounds. The brass sounds much better handled later in the track when that texture isn't being played, so I'm leaning on that being intentional, if perhaps a bit too much in the wonky direction. I do hear them, but I didn't think they were an issue considering the context. YES

RebeccaETripp Rebecca Tripp http://www.crystalechosound.com/ ID: 48262 Game(s): Final Fantasy 4 Song Title: The Universe Songs Remixed: Another Moon, Lunarians Comments: orchestra with a bit of throat singing at the beginning and some opera sample later on Also, I was trying to sort of tell a story about all the characters concerning the moon, as well as the cyclical nature of desire, power and transformation and enlightenment

Huh, well I don't think I've timestamped this one yet, Larry, since I've been a bad judge and haven't judged this yet. Just sayin'. EDIT: You fixed it, but I leave it up there because I think it's funny. All things considered, this track does a great job taking such a short theme and expanding it into such a large orchestral piece. It never really loses touch of what it's arranging, but it rarely covers the source the same way twice. Very impressive arranging in this. The orchestra sounds great, for the most part. I have some reservations on the trumpets in this, since they sound fairly hollow and tin-ny (too much high EQ, too little mid and lows to balance them). They just sound too nasally, which takes me out of the experience a bit. Since the opening is heavily brass oriented it's especially problematic there. Overall the instruments sound great, so it's particularly strange that the trumpets sound like this. Overall, this is just great stuff, though. My issues are relatively nitpicky compared to the amazing arrangement, well humanized instruments and well balanced orchestration. I'm loving this - let's send this one off! YES