Gario

Previous Decision urdailywater Aaron Corbitt Your website 22874 Submission Information Mega Man 9 Invisible Concrete Concrete Man https://www.youtube.com/watch?v=FwQ9iCqtpUk A Re-mix of a resub of a resub of a ReMix

Hello! Dana from Pixel Noise here. We are looong time OCremix followers, but have never really been active in the community, other than as avid listeners. I'll front-load all of the necessary info, and discuss after: (The track is attached, but here is a link to the track on our Soundcloud, for easier listening) Contact info Remixer name: Pixel Noise Email: Website: https://soundcloud.com/pixel-noise Real names: Dana Difilippantonio and Michael Dooley Submission info Name of game: Secret of Mana Name of Arrangement: Mana's Requiem Track(s) arranged: "I Won't Forget" Mix comments: This is an orchestral style arrangement of "I Won't Forget". We wanted to really try to vary the arrangement, rather than just re-hashing the primary melody over and over. The opening phrase states the melody outright with solo harp; in the second statement, strings and a flute counter-melody enter, slightly masking the main melody. The third phrase drops the melody entirely, in favor of string material based loosely on the melody. From there, the arrangement takes a surprising turn, as classical guitar enters and begins to drive the track in a different direction. A guitar cadenza then follows, which outlines and expands on the melody. The track ends with a final statement of the melody on guitar, accompanied by soft strings and bells. We hope you like it, and certainly welcome any feedback you have, as we plan on doing at least a few more of these, to provide a full Suite of SoM orchestral arrangements! Best, Dana @ Pixel Noise

Ah, no source link, alas. I know you mention it in the OP, but it does help linking the source for us. Normally that's a straight requirement to get an eval, but since I've just been listening to that source I'll give it a go, anyway. Just a heads up for the future. EVAL Nice performances, great deep tone to the guitar. I like your style, and I think the track shows that you have the technical and production chops to pull off whatever you want, here. There are a few things that I should point out, though. The track overall suffers with the levels of reverb that you have layered on everything, which makes it sound muddy. Tone down the reverb and your guitar will sound tighter, more powerful. I can see that you changed the harmonies up a bit from the source. I can see that working, but the chords you settle on are not quite right. At 1:23 you've settled on playing power chords over that first note, but in the source (and in this arrangement, as well) the note that's one step lower is the key that the track is in - that first note was a neighbor tone. This makes the 1:23 - 1:54 (and similar sections) very difficult to get through. Changing harmonies from the source can work well, but drop the harmonies in those sections a whole step or else everything will sound off. 2:55 has a part in the background that's not meshing with the rest of the track. It corrects itself in a measure, but that decorative guitar part doesn't sound correct. It's going in the right direction, but I think the arrangement needs a few tweeks in the harmonies used from time to time, and a careful look at what guitar licks harmonize well with the lead and what doesn't. It's probably 85-90% great with 10-15% being tough to listen to due to being off key, so it has potential to be pretty sweet. Also, be sure to tone down on the reverb and I could see this doing well on the panel. Good luck!

Such a heavy, thrashin' arrangement you've got here. The original material expands the material rather brilliantly - when I first heard this I had no idea how you'd make it work, but then you fit it all over the source like a glove. I love it. The production on this is pretty bass-heavy, but it's well within our standards. The performance is great for the most part, and the balance of the mix is good. Source usage is as you say in the break down, which is more than sufficient. What can I say, I really got a kick out of this one. YES

EVAL Interesting source - most of the time DK64 tends to get arrangements from their toy factory source, so this is pretty fresh. Most of your samples are on point - nice brass, great percussion and some sweet woodwinds playing throughout. I like the minimalist approach to the orchestration, as well - there's never too much going on, crowding things in the process. The instruments all seem to have a lot of reverb applied to them, which often creates mud in the track. Even live performances aren't this wet, and when they are that wet the hall is considered terrible for performances (unless it's a church choir... but that's a bit off topic). Lighten up on the reverb, and that'll make this arrangement sound cleaner. The strings increase in dynamics in an unnatural, sudden manner in the beginning of the arrangement (0:16 - 0:38). When strings swell in and out of their chords like that, be easy on the increase of dynamics - too large a jump between chords sounds jarring. While I enjoy this arrangement, I will add that it sounds like an upgrade to the source rather than a reimagining of sorts. The samples are better, and there are a few background elements that are different, but this is a very conservative interpretation of the source. While I enjoy it and you did a good job on it overall, I think this would be rejected primarily on arrangement grounds. Nice work, though.

'Alien' is the right term for this - it's such a strange blend of C64 synths and more conventional electronic synths, it sounds rather... er, alien. Some really nice plays with the rhythms in order to blend the sources appropriately, it works so well in its strange way. If I had to point anything out, the production sounds lacking in the higher EQ balance range, but that's more a nitpick than anything - it doesn't cause too much concern for me. So strange, but really cool - great work on this one! YES

Well, that sounds like as good an eval as any. I'll come in to pretty much re-iterate Larry on that point: It's quite good, though - the sounds are well spaced, and the synths are pretty meaty. This is very, very close to the source, though, so while interesting and well produced it'd likely not be accepted due to that. I could see something like this being taken into consideration if the medium were used to expand the source further in a way that other mediums simply couldn't (like utilizing the quick arps the NES is known for, for example), or even just expanded on the original source a bit more, but I agree with Larry that this is a bit too on-the-nose and would likely be rejected on those grounds. Solid listen, though - I did get a kick out of it, so nice work!

This is a pretty bouncy arrangement of such a somber source - I'm digging it. The performance, while playful with the tempo, sounds quite good to boot (though it does get a little too loose with the rhythms at 0:32 - 0:34; definitely a nitpick on my end, though). Yeah, whatever production issues this may have had prior have certainly been fixed. I can't see this anywhere other than the front page, in this condition. Nice work, and I'm glad you sent it back this way! YES

This is a smooth, hip-hop arrangement you've got going down, here. There is a certain playfulness to the arrangement, with little licks and such to keep the listener on his/her toes. The use of pads, those drums and the backing piano make this track sound pretty static, though there are sections in here that break up those patterns which helps give this some more life. Some more moments where the instruments behave differently (or aren't used at all) would help make the piece less static, so there's some food for thought. That piano, as MindWanderer mentions, also is something of a concern, as it's so dry in comparison to the rest of the track. The 'performance' also feels stilted with those arpeggios, like the performer hit every note in a deliberate manner (or if the notes were sequenced at a fairly high velocity for each hit). It's pretty distracting throughout the entire track, since it's such a prominent part of the track. Tweaking those velocities, utilizing some 'pedal' (emulated by using the sustain envelope in a DAW) and possibly adding a bit of reverb to the piano so it matched the more 'wet' instruments would alleviate the issues the piano holds. I think I could've let this go if either the arrangement wasn't so static or the piano wasn't as stilted and dry, but in combination I feel I've got to send this back. On a side note, the production and mixing sounds pretty good in this, so nice work on that. I feel with just a little more TLC to these aspects this would be a good fit for OCR, so keep it up! NO

Hmm, that is certainly something. I do not have Kontact, unfortunately, but on the Reason NX sampler I use there's an option to start your sample a certain percentage of the way into it, which can be used to manually cut out the swell inherent to the sample. Add a little attack (say, 20-50ms) to take care of the 'pop' that might occur from starting in the middle of the sample and that might give you something workable on the faster runs. I understand where you're coming from on that aspect, though - if nothing is to be done it isn't quite a track-killer (as the swelling is appropriate at some places), but perhaps this tidbit of advice might help.

Well, this is a pretty slick track. I like those old school synths the just wreck the house, and those themes that build off of the source are great. The production is fairly solid, to boot - I'm really digging this a lot. There is one snag, though - there's a lot of building off of your original material that's done in this, so the track loses sight of the source. Pulling out the stop watch, this is what I get: 0:00 - 0:27 0:27 - 0:42 (In Background, faintly) 0:42 - 0:52 0:55 - 1:06 2:05 - 2:32 (Background arp is from source, flute is a truncated for of source) 2:32 - 2:43 2:47 - 2:57 4:24 - 4:35 4:38 - 4:48 132s / 329s 40% That's a best case scenario: 2:05 - 2:32 is a pretty debateable case, for example. I really enjoyed how you incorporated the theme behind your original material at 0:27 - 0:42, and I could easily see more of that sort of background application done to keep this arrangement grounded in the source to push this above our requirements. Give us more source integration and I could see this passing easily. Unfortunately, as it stands there's not enough VG to pass it off as a VG arrangement, though it's still a really cool track. NO

To be honest, I was waffling on this one a bit. The arrangement is pretty clever (and a bit hilarious), and while there isn't anything spectacular with the production of the chips it IS stereo separated, with some care taken to make it sound acceptable on one's speakers or headphones. Production isn't that impressive, but he does give it the proper spit-shine to make it adequate for our standards, I feel. The one thing that holds this down is ironically the guitar - it just follows the chips, and it's panned too hard to the right speaker. If the guitar had a better presence to it (probably with a layered guitar part on the other side), and PERHAPS the guitar were doing something more interesting than following the lead (or alternatively the lead was the guitar without the chip) this would actually be a pass on my part. Right now, though, the guitar throws me off, so I've got to send it back for now. Great work with the blending source, though - I got a kick out of it, and I hope you send it back with some improvements. NO

Aha, very low hanging fruit for me - gotta love some Lufia music. It's a pretty conservative mix in the beginning, but those guitar and synth solos are pretty kickass. For such a short song, I give it full credit for going through a range of intensity levels, from power stance metal to thrash solos to even more sensitive moments with the cello (or is it a viola?). I'm all for this arrangement. The production is a little less spot on, though it isn't terrible. The higher end EQ balance is pretty low, which makes the whole track sound a bit muffled. The backing strings sound pretty mechanical and stiff, though since they're in the background behind the guitar it's not too big an issue, and when the cello takes the lead toward the end it sounds pretty great. I think it could be better produced, but I don't think there's enough here for me to reject this on. Let's do it. EDIT (04/26): Oh yikes, I totally biffed on pointing out that sourness at 1:38 - 1:40. Shoot, I'm normally pretty good at catching those things, I wonder how that flew under the radar. I 100% agree on that being a necessary fix for this, as that's pretty poignant at an important transition. Adding that point as a conditional, please fix er' up! EDIT (05/23): And I think Deia has a point as well - if it's a live performance that needs to be fixed, that's not quite a conditional fix there. The weird clashing does need to be fixed before I can pass this, so fix it and send it back this way right away! NO

Always keep an eye on the Judges Process page, if you're interested in how things are going in there - you can see if your (or someone else's) track is on the panel, and see whether or not you passed.

Mmm, those are some very warm, tasty synths throughout this track. They're a hint vanilla, but they are very well used, with some great lead work throughout. The production is exceptionally clean, and the arrangement has a lot of fun with the credits theme (with the starman theme thrown in, for good measure. One thing that's really annoying is the use of SFX throughout. I'm normally a huge fan of said SFX, but they're haphazardly placed in this track. It's especially problematic in the beginning when there's a vocal clip for nearly every measure, which is incredibly distracting. When the music is allowed to speak for itself it's really great, but those vocal clips are very distracting when they come at you one after another. Under that it's a great track, so I think I can pass this under the condition that you decrease the arbitrary number of vocal clips sprayed throughout. A few here and there are great, but too many just drowns an otherwise fun track. EDIT: I think Chimpzilla has a point in removing the clips is a little more work than I give credit for. I'll give the arranger my feedback regardless and see if he can give us a quick fix on this, but there's no need to have my vote hold up the process. NO

• Your ReMixer name - EOX • Your real name - Anders Enger Jensen (Duh) • Your email address - • Your website - www.eox.no • Your userid - 23479 Hei , Anders Enger Jensen <> har sendt deg 1 filer (9,66 MB) med Filemail!! Hi I'd like to submit this latest creation. I've been thinking about doing my approach on the ending credit theme from Mario Kart 64 for the last two decades, and finally got around to do something about it lately. All selfmade with recorded samples from the original game. All music is CC-SA-NC restricted. Best regards Anders Enger Jensen EOX Studios Web: www.eox.no e-mail: Phone:

Jacob Diaz has shared a OneDrive file with you. To view it, click the link below. DjjD Jacob Diaz http://djjdstudios.com 20579 Super Mario RPG "Tricky Labyrinth" "Welcome To Booster's Tower" I can remember this remix being just...a fun project. Plain and simple. However, as time went by it got more complex, enough to the point where I asked my good friend, Jake Groft (@Jehm_Faulking) to help me out with a trumpet solo. The results were awesome and it made the mix stand out even more than I thought it would. P.S. As a shoutout to everyone involved in the SMRPG album...holy hell, what an awesome remix album! Great work all around.

Hi OC ReMix! I'd love for you to take a listen to my cover of Super Mario Bros. in the style of Mega Man 2: Contact Info ReMixer Name: BoyMeetsRobot Website: https://boymeetsrobot.bandcamp.com/ https://www.facebook.com/boymeetsbot/ https://twitter.com/BoyMeetsBot User ID: 34348 Submission Info Games: Super Mario Bros., Mega Man 2 Name of Arrangement: Mega Mario Bros. Name of Songs: Overworld Theme (SMB), Underworld Theme (SMB), Boss Battle (MM2) Chiptunes for this arrangement were created with a Nintendo Game Boy running Little Sound DJ. Thanks for your consideration! -Mike

ReMixer name: elenaiwilliams Real name: Elena Íviel Williams E-mail address: UserID: 34324 Game Arranged: LufiaII: Rise of the Sinistrals Name of Arrangement: The Heat of the Battle Name of song arranged: Battle #1 Well, the first thing you'll probably notice about this is that I am completely unoriginal when it comes to titles. I almost went with just "Battle Theme", so go figure. Anyway, ever since I first listened to this battle theme I wanted to arrange it, something about that slap bass captured me (ironically, that's the part that I haven't managed to get as close to the original vibe as I wanted). And of course, even though the limited sounds of the SNES were very minimalistic, I was always sure that this was a power prog song, because, well, all RPG battle themes are, in a way (and I love it). So a few years ago I did, just for my listening pleasure, a fairly straightforward rock arrangement of this theme, and it was fine, but definitely not something good enough to share. Lately I'd been listening to it again and came across the arrangement for the DS version, I was blown away, especially by the string interlude. Definitely I had to up my arrangement, this is what was missing. So I set on to making an arrangement I could be proud of. It's still fairly short, fairly straight forward, and quite on the conservative side: I didn't want to wander off too far from the original song because it was already so good. I did have a good time adding layers of synths, though (and a hard time getting the solo violin just right). Because a guitar based cover is nice, but when you add Hammond, strings, and nice keyboard solo... well that's just swell. Anyway, yeah, here it is. Hope it's good enough to be part of the OCRemix repertoire.

Contact Info ReMixer Name- Artomun Name- Gabriel McGovern Email- UserID- 34381 Submission Info Game- The Legend of Zelda: Ocarina of Time Name of Arrangement- Anthem of Rainswept Souls Songs Arranged- Windmill Hut, Song of Storms Comments I arranged this rendition of Song of Storms some years ago on a little, plastic keyboard. After hearing some of the amazing work done by Remixers such as Theophany and Rozen, I finally decided to try and translate my little remix into a fully orchestrated and produced version. It begins with an audio interpretation of Link entering the Windmill Hut in Kakariko Village, speaking to Guru-Guru, and playing the Song of Storms (which causes a thunderstorm, as in the game). After the Windmill Hut theme drops out, the arrangement moves into the original composition of the Anthem of Rainswept Souls. I did not have access to live instrumentation or vocals; all tools and resources I used were free. I am by no means a professional, but I hope that my first submission will be enjoyed and welcomed by your community of talented musical interpreters.

Contact Information Remixer Username: Furorezu Real Name: Daniel Florez Preferred E-mail: User ID: 33297 Name of games arranged: The Legend of Zelda: Ocarina of Time Name of arrangement: Awakening of the Forest Sage Name of individual songs: Saria's Song Source materials: Saria's Song Comments: A few years ago, I started finding songs like Lashmush's "Breaking Point" from 2014's "Harmony of Heroes" and So Many Tears' "Searching Friends" from "Final Fantasy Tribute ~Thanks~". I loved the clean guitar style from "Searching Friends" and the dramatic slow build-up of "Breaking Point" but I wasn't able to find more songs like them for a while because I wasn't quite aware what genre they fell in or if they even fell into the same genre. Last year, I discovered through Spotify that they could be classified as post-rock and begun listening to bands like "God is an Astronaut" and "If these trees could talk" and I became inspired to create something in their styling of slow tempo, clean bright guitar tone leading to slow distorted guitar. I found myself leaning to adapting "Saria's song" to post-rock because I found that it had a melody that could be very fitting to adapt to such a style since it could either sound somber or happy depending on the way it was played. I finally got around to playing around and recording my ideas once I found the RAT-2 distortion pedal from my local library, which allowed me to give my song the oomph required of the build-up I had been humming for months but also had a warm tone and long sustain, since my other distortion options would have felt too inadequate due to their more gritty sound more apt for something like thrash metal or lacking the oomph I wanted for the rhythm and lead parts. Once I had the distortion all settled, it was just a matter of recording my idea, which I was able to get sorted sorted fairly quickly since this had been floating around in my head for months but I ended up very pleased with the results.

RebeccaETripp Rebecca Tripp http://www.crystalechosound.com/ ID: 48262 Game(s): Ocarina of Time (and subsequently many other Zelda titles) Song Title: Heart, Home and Hearth Songs Remixed: House Music Comments: I tried to elaborate on it, vary it, add more layers, etc Here’s a link to the track: https://www.youtube.com/watch?v=hJspC6NHTNk I can attach a file later if need be.

Note: This will need a proper title, if it passes. - Gario ContactArtist Name: Infinity State Real Name: Pil Chun Email: Website: Infinity State on Soundcloud UserID: 34299 Submission Game: The Legend of Zelda: Ocarina of Time Song: Song of Storms Name: Infinity State's Guru Guru Remix Original Reference: Song of Storms on YT Actual Game Samples Used from: Zelda Sound Effects Comments: It was one of my favourite games as a child. Now that long time has passed I've re-listened to many of the tunes in the OoT OST and Song of Storms stood out to me. I took the main melody line and created my own interpretation of it. The key was also changed to better accommodate the kick and the bass as it is a 'dance' track. The remix is attached in this email for your listening and review. Thank you for your consideration With Regard, -Infinity State

Note: If this passes, it will need a different title. - Gario Hello! I would like send my last remix Journey To Silius - Raf World [Stage 3 - Headquarters] (TrialCore Remix) System: NES / FamicomYear: 1990 Published by: Sunsoft/Tokai Engineering Composers: Nobuyuki Hara, Naoki Kodaka, About SS, Marumo, Mabochan remix - TrialCore Remix real name - Miguel Trial mail - web - bandcamp.com/trialcore user ID: 34344 greetings!

Hi there, Here's the link to the track. You'll find it attached as well. -------- ReMixer name: Izgert Real name: Fahad Sperinck Email address: User ID: 10328 Name of game arranged: The King Of Fighters '96 Name of arrangement: Buff Trump With A Grudge Name of individual song arranged: Geese Howard's theme Link to original song: https://www.youtube.com/watch?v=JDkImRonnic Comments: The inspiration for this came out of nowhere, while I was trying to figure out how to make decent synths with NI Massive. For some reason, one of the sounds reminded me of this old track. Since I was recording metal at the time, it wasn't too much of a stretch to try and recreate this theme myself in an industrial metal style following bands like Rammstein and Static-X, with some extra flourishes. I wrote and recorded all the parts from 14th-28th February 2017. Drums are EZDrummer, Metal Machine expansion. Bass is a old 70s Hohner B2A. Guitar is an Ibanez Xiphos, recorded through Axe-Fx Ultra -> audio interface -> DAW. Synth is virtually all NI Massive, with some native FL 3xOsc bits. Someone on YouTube commented that Geese looks (and acts) quite a lot like Donald Trump -- this was long before he was elected President, of course. Seems quite apt to title it after him now. Even though Geese is a muscled up, angry badass and Trump is mostly just angry (apologies if I'm upsetting any fans). -------- Many thanks!