Gario

Contact Information Your ReMixer name: Archangel, HoboKa Your real name: Jaka Čibej, Alex Shtokalko Your email address: jaka (dot) cibej (at) gmail (dot) com Your website: http://www.reverbnation.com/jakacibejarchangel, https://soundcloud.com/hoboka Your userid: 23355 (http://ocremix.org/forums/member.php?u=23355), 16088 (http://ocremix.org/community/profile/16088) Submission Information Name of game(s) arranged: Secret of Mana 2 (Seiken Densetsu 3) Name of individual song(s) arranged: Where Angels Fear to Tread Additional information about game including composer, system, etc.: HirokiKikuta; SNES; Link to the original soundtrack (if it is not one of the sound archives already available on the site): Where Angels Fear to Tread Your own comments about the mix, for example the inspiration behind it, how it was made, etc.: Greetings, almighty primarchs! Submission no. 15. Another one (and my last unsubmitted one) from Songs of Light and Darkness, the upcoming Secret of Mana 2 album. This is actually an unexpected collaboration between me and Alex (HoboKa). Alex made a MIDI arrangement of Where Angels Fear to Tread for the project, but didn't have any decent sample libraries at the time. Ad (Rozovian), the project director, asked me to render the MIDI with my samples, but I decided to improve Alex's arrangement with a little more humanization, additional instrumentation, and better dynamics. This is the end result. Alex says: "I really like the source tune and struggled to do it justice solo, hence why I needed to collaborate with Archangel. And I'm ecstatic that he came around to sound-upgrade and add in some much needed articulation, humanization and Stormdrum stuff." People seem to enjoy visualizing stories while listening to my submissions, so here you go: I imagined this as the soundtrack to a movie opening sequence akin to the one at the beginning of Peter Jackson's Lord of the Rings film trilogy. Between 0:00 and 2:55, we see a montage of key scenes during which a narrator tells the backstoryas told at the beginning of the game (I took the liberty of improving and expanding the text): Once, when reality was still trapped in impenetrable darkness, the Goddess of Mana felled eight Eidolons, terrible incarnations of disaster that led all existence down a path of utter destruction, with the legendary Sword of Mana, and sealed each one in a monolith prison. The darkness was lifted to make way for the dawn, and the world as we know it was created. The Goddess turned herself into a mighty tree and sank into a deep slumber that would last for an age. And so the years passed, with both the jailor and her captives sleeping, ignorant of time, space, and life. But now, due to the actions of some who plot to free the Eidolons from their stone imprisonment, obtain power surpassing even that of the gods, and make the world their own, conflict breaks out, heralding the end of peace. Mana, the mysterious force of balance and harmony, a gift from the Goddess herself, is rapidly disappearing from the world. Winds are dying, singing their final laments. War bares its fangs, threatening to consume what little innocence yet remains. Malevolent forces stir in the night, and it seems that nothing will be spared from spiraling into inevitable chaos. Even the Tree of Mana has begun to wither... At 2:55, the shot moves closer to the Tree of Mana and shows four faeries, worried and weakened, but determined. The gradual disappearance of mana has already taken its toll on the surrounding life. Knowing they must act before it is too late, the faeries hold hands for one last time before taking a deep breath and flying off into the night (3:22). They soar across the lands of the Mana Sanctuary, but one by one, they're forced to abandon their quest as fatigue overtakes them. As the last of them lands in the forest (3:43), she collapses on the ground, exhausted and sobbing. She looks around in despair and sees a beautiful blossom wither into nothing right before her eyes (4:00). Reminded that everything will die if she doesn't go on, she musters all her remaining strength and takes off again (4:08). The sequence follows her shining silhouette above the clouds until she leaves the Mana Sanctuary through a blinding curtain of light, entering the mortal world (4:48). The screen then fades to black and the movie title appears. So there you go, a soundtrackish take on an already soundtrackish track. Enjoy! Here's the link to the mp3: Take care, J.

EVAL The samples are pretty clear in this: there is a great deal of sampling from the source. If you were to submit this as it stands you'd be direct rejected on those grounds before it got to the panel, since it violates the submissions standards. With that out of the way, let's give the track a look through anyway and see if I can give any more helpful suggestions. This track seems like it's missing something. The drums are nice, and the effects help make the track interesting, but it seems to be built to accomodate vocals, which aren't present - this makes the track feel empty overall. The arrangement itself also repeats that bassline throughout, so it's a bit repetitive, to boot. The little effects that you applied to the track were pretty neat, though, and the drumline & vocals sprinkled throughout were pretty slick. I like the production on it, but it does feel unfinished and repetitive, outside of the disqualifying sampling element. Hope that helps!

This track is going to be part of the Speeding Towards Adventures: Sonic the Hedgehog 25th Anniversary Album (http://ocremix.org/community/topic/38162-speeding-towards-adventures-sonic-the-hedgehog-25th-anniversary-album-recruiting/) Remixer name: Jorito Real name: Jorrith Schaap Email: Website(s): YouTube: https://www.youtube.com/user/Joeirot Soundcloud: https://soundcloud.com/jorito Userid: 3899 Remixer name: Trev Real Name: Trev Wignall Email: Userid: 32157 Website(s): YouTube: https://www.youtube.com/user/trevwignallmusic Soundcloud: https://soundcloud.com/trevwignallmusic Bandcamp: http://trevwignall.bandcamp.com/ Website: http://trevwignall.com ReMixer name: HankTheSpankTankJankerson Real name: Aaron Christopher Schmitt e-mail: forum id: 33166 ReMixer name: TheNikanoru Real name: Mike Postans e-mail: forum id: 33729 Submission information: Name of Game(s) Remixed: Sonic The Hedgehog (GEN), Sonic The Hedgehog 3 Name of Arrangement: Gotta Start From Somewhere Names of songs arranged: Sonic 1 Title, Sonic 1 Invincibility, Sonic 3 Title Link to the remix: Comments about the mix: Jorito: Jorito: Black_Doom wanted an opening track for the Sonic Speeding Towards Adventures album, in the same spirit as previous OCR Sonic albums. He asked me to create a remix of the iconic Sonic the Hedgehog title theme that started the series, and how could I refuse? Unfortunately my ambition got the better of me and I didn’t want to settle for a short opening remix for the album. In stead I opted for a full length track, but that proved to be quite a challenge, since the source tune is only 11 seconds long. So I cheated a bit and blended in the Sonic 1 invincibility theme as well as the Sonic 3 title theme as well as some EDM style builds and drops. And of course no Sonic opening track would be complete without a ‘Sega’ opening choir, so I recorded myself and got some help from TheNikanoru (vocals) to welcome you to the album. At the time I started on this track, I was mesmerized by the track "Caravan Bowser" by Flexstyle and XPRTNovice, and I thought it’d be interesting to try that style for the title remix. I dove into the Electro Swing genre and tried to create a vibe similar to the band Caravan Palace. I’m not sure I succeeded in exactly that, but I think the overall track is very enjoyable and it’s definitely helped by the awesome performances by Trev (violin) and Aaron (clarinet, sax). It also was a good excuse to grab ye olde accordion and record some parts myself. I really dig the solo part where Trev and Aaron shred out and hype you up for the rest of the album adventure to come! Trev: Once again Jorrith asked me to play some violin and I just had to oblige! His Sonic title remix was so much fun to play and shred on, and I had a blast. It was a great change of pace to bust out a fiddle solo over an upbeat EDM style remix too! Enjoy!

Hey OCRemix Team, I've been following OCRemix for over a decade and love the community & content! This is my first submission and I look forward to submitting much more content soon! My specialty is piano arranging and I've had an active YouTube channel for several years (VGPianoMan). I've decided that it's finally time to partner with your community to share in this passion. My info: Contact Info •ReMixer name: VGPianoMan •Real name: Steven Melin •Email: •Website: http://www.stevenmelin.com •UserID: 34166 Submission Info •Game arranged: Earthbound (Super Nintendo) •Name of Arrangement: Piano Meets Girl •Name of Individual Song Arranged: Boy Meets Girl >Download the track from DropBox: This track was recorded on a Steinway B Grand Piano. It was one of the first pieces of music in a video game that sparked a passion for me to begin composing music - now my profession! This track was recorded several years ago, so the source file has a tiny bit of high-end white noise. I EQ'd it the best I could to clean it up. Thanks, | Atlanta, GA www.stevenmelin.com

Okay, I actually found this arrangement hilarious (Shootin' Dracula in the dick with lightning, lol). The hip-hop lyrics are tight, though, and it's crisp as hell. It's pretty minimalistic on the source (a hip hop beat beneath the source, for much of it), but the hip hoppin' does count as creatively expanding on the source, in my book, and that bassline that the track leans on heavily at points really compliments the style this track goes for. One issue that I've got is the heavy delay placed on the square that carries the theme, as it makes the theme sound muddy and cluttered. It would've been better off just having the square play on a clean channel. I like it - it's catchy, the lyrics are clever, and the source, while minimalistic in its use is certainly well represented. Let's do it. YES

Contact Information The Sexual intellectual Isaac Flowerday Isaac Flowerday User ID: 34155 Submission Information Castlevania III The Devil's Son In Law Demon Seed I always wanted to incorporate video game music into Hip Hop. I felt like they have so much in common. For instance, the early compositions in both types of music were both based around extreme technical limitations. The SP-12, or the drum machine favored by many early Hip Hop producers only had 2.5 seconds of sample time. The SP-1200 had 10 seconds. This limitation forced composers and producers to do a lot with very little. It lead to a lot of focus on little bits and pieces of sounds being spliced and layered on each other to form the composition. Likewise, Video game Composers only had 5 Audio Tracks to work with which lead them to do a lot more with a lot less. This is partly why game music is filled with arpeggios. They make the track sound fuller. It's two different limitations admittedly but I always liked the creativity that comes out of working with limitations and I wanted to bring the genres together as they are two of my all time favorites The attached track is an mp3 at 192 bit rate. Hope it meets the criteria and thanks for the work you guys put into expanding this genre of music. It really is invaluable.

Always neat to see a composer do an arrangement of their own music on here, and it's even better when it's an interpretive arrangement of their own work (as it is here). As far as I can tell, this is a slower paced, more dramatic rendition of the source, which is a pretty interesting approach to take. There are some key issues with the production that are holding this back, in my opinion. In the beginning there are a few concerns about humanizing your strings better than they are at present; there is a swell in every attack of that viola/cello lead that wouldn't realistically be present in a real performance. Pay attention to your attack envelope, and make sure your lines sound more like phrases by only incorporating those swells in the beginning of a melodic line, in general. The larger concern, though, involves the crowding that is present in most of this track, which evolves into compression issues later on. At 0:32 your first real synth comes in, and it's very clear that there is too much reverb on your synth, making it too wet. While it's something that could be passed as artistic license if no other issues arose from it, the more instruments you add to the mix the muddier and more crowded everything becomes. When that arpeggio comes in at 0:48, your waveform on both left and right channels are completely consumed, leaving no room for your backing strings to be heard throughout. This really comes to a head at 1:20 when the bass comes in, which actually starts to cause pumping in your backing instruments. Your subtle piano and string elements just get completely lost, and the pads just get washed by the wet synths above. I think the arrangement was decent, but the compression issues, crowding and wet instruments that contribute to those issues place me firmly on the other side of the fence, here. I would suggest cleaning up the mix so that your instruments are each identifiable throughout, hold back on the reverb with those synths, and consider incorporating more sidechaining in order to accomodate the kick appropriately. I hope to hear a cleaner version of this sometime soon! NO

This is a cute track - the SFX are fun, the production is crisp, and ultimately it takes the source in a different direction with those heavy 808 drums. The arrangement is a bit on the simplistic side, but I don't think it wears its welcome out by the end of it due to the short length so that's not too big an issue. Be careful with your variations, though, as when they more directly reflect your source it sounds stale and uninteresting (after the first repetition of this theme). Most of the time you do a pretty good job of varying it, though, so it doesn't hold my vote back much. I think I understand where MW is coming from on that supersaw, but I think it's important to look at it in a different light - the supersaw is very vanilla, has a portamento that just makes it sound out of tune, and ultimately sucks the fun out of any section that it's in, especially when it's used as a main instrument. Even if it were used in EDM it'd still be thin and uninteresting if left in the state it's in, so I don't think it counts as a mark against 'following genre convention'. It can be up to the other judges whether or not to count that as deal-breaking, but considering it's tough for me to sit through the track when that instrument is present I'm going to call it out as such. The sampled instruments (piano, flute, percussion) has a similar issue in that they don't sound humanized enough; as they stand, they sound dull and mechanical. Dynamics, attack envelopes, vibrato (flute), etc., can all help make those elements sound more realistic and interesting. Outside of the flute (which is a lead in many parts) it doesn't affect the piece too negatively, but it's something to be aware of. It's a cute piece, though. If that supersaw were either made more interesting or replaced with something less vanilla and downtuned I think this would be a fun little track to add to OCR. I suggest giving that instrument another look and humanizing the flute, then resending this our way. NO

Ah, I like AJ's style, and coming pretty fresh from this game I enjoyed the source selection quite a bit. Nice and chill, but it does have some nice, chuggy metal where it counts. The production is pretty clean, to boot, which is always a good thing. The mixing is acceptable, though it's not perfect. Even with the improvements from the first version he sent, due to how wet the arrangement is, with the pads and resonant acoustic guitar in the background, the background mix tends to sound like a wash of sound. The instruments shine where it matters most (the lead punches right through), but it's difficult to hear what is actually going in behind the lead. I mean, there's a whole piano part in the background that I couldn't even hear the first few times listening - it's that tricky to parse the parts in the backing instrumentation. There is a wrong note in the lead at 1:24, which is pretty poignant due to being held in the lead guitar. That note is a half step higher than it should be, as it clashes with the harmony below as it stands. It's not perfect, with the wrong note and wet background, but I think it hits it dead on where it counts - the production is good, the arrangement is great, and it's a great representative of a newer soundtrack. I'm all for giving it some front page love. YES

Note: Although a prior version was submit that I could've paneled, since AJ had made a speedy mixing change before with his Bramble Blaster mix I decided to give him an opportunity to do so again with this track, which resulted in the version here. Just a quick FYI. - Gario AJ DiSpirito (ReMixer and real name are the same) http://youtube.com/ajdispirito userid: 33841 Fire Emblem Fates Road To Victory Road Taken (Calm) Original Track

Link to track: Variations on a Lost Soul ReMixer name: sschafi1 Real name: Sean Schafianski E-mail: Submission information Name of game arranged: Bioshock Name of Arrangement: Variations on a Lost Soul Name of Individual Song(s): Lost Soul Comments: This is a theme and variations based on "Lost Soul" from the first Bioshock, as featured on the album ENRAPTURED: Bioshock Remixed, published by Materia Collective. I've always loved this track from the OST. It is indeed short, though amazingly evocative and lends itself very well to arrangement. This arrangement uses minimalist techniques and quotes the style of Philip Glass. It was experimental at first, but it definitely grew on me, and I think it suits the track quite well! This is your classic theme and variations form with a minimalist twist! Played by the wonderful Ruby Toung (aka purpleschala), who learned this piece in under a day. I hope you all enjoy it!

Contact Information Your ReMixer name: Smooth4Lyfe Your real name: Joey Ofori Your email address: Your website: http://www.youtube.com/smooth4lyfe Your userid (number, not name): 33213 Submission Information Name of game(s) arranged: Yoshi's Story Name of arrangement: Yoshi's EDM Story Name of individual song(s) arranged: Yoshi's Story Theme Link to the original soundtrack: https://youtu.be/nghTrcPBp3s Your own comments about the mix, for example the inspiration behind it, how it was made, etc.: Love the theme, so I wanted to make a club/EDM variation of the track. I love EDM tracks. Smooth4Lyfe Email: Facebook: http://www.facebook.com/smooth4lyfemusic YouTube: http://www.youtube.com/smooth4lyfe CDBaby: http://www.cdbaby.com/artist/smooth4lyfe

Contact Information Your ReMixer name: Archangel Your real name: Jaka Čibej Your email address: Your website: http://www.reverbnation.com/jakacibejarchangel Your userid: 23355 (http://ocremix.org/forums/member.php?u=23355) Submission Information Name of game(s) arranged: Paladin's Quest Name of individual song(s) arranged: Godom Lullaby Additional information about game including composer, system, etc.: Kōhei Tanaka; SNES; Link to the original soundtrack (if it is not one of the sound archives already available on the site): Godom Lullaby Your own comments about the mix, for example the inspiration behind it, how it was made, etc.: Greetings, almighty primarchs! Submission no. 13! This is another arrangement I made years ago, back in 2011, and never submitted until now for some reason. I don't know why I keep hoarding music and storing it for years on end. It's tremendously annoying, but as a perfectionist, I guess I have a hard time just letting go. I remember making this when I went to Sweden to study there for a year. My first month there was kind of bumpy because I didn't really know anyone, and I'm not really the outgoing type. I missed my family and was kind of worried that my nephew, who was a year old at the time, would completely forget me. I knew it wouldn't have really made a difference if he had - I'd come back, we'd play with his toys for an hour or two and everything would be back to the way it was before I left. But there was still that uneasy feeling I couldn't get rid of, and that got me thinking how horrible it must be to lose a child. To be forced to live with that terrifying feeling that something important is missing from your life and there's no way to fill that gaping void. That's when I remembered Smash, the desperate miner from Paladin's Quest who lost his son. You meet him in a bar to ask for his help, but he only finds the courage to help you if you convince the pianist to play Godom Lullaby, which was Smash's son's favorite song. When he finally hears it, Smash says: "It's as if my son's telling me: 'You have to hang in there, dad!'" Pretty heart-breaking. The fact that Godom Lullaby is incredibly melancholic doesn't really help either. All this rumination inspired me to make this arrangement that's part lullaby, part elven lament and part Native American spirit dance. For anyone out there dealing with loss - I hope this inspires you to go on. It's hard, but it's an inherent part of being human. Here's the link to the mp3: Enjoy the track and take care, J.

Not much to add to this - it's a touch conservative, but it does pull out some nice metal idioms (like the 1:12 pause in energy before the rhythm guitar drops again, for example) that makes this feel pretty distinct from the source. The production is pretty solid, and the performances are great. It's a solid metal arrangement that does what it needs to do, and it does it well. Not much more to say - great work! YES

My opinion of it is pretty similar to what it was for the album - very interesting arrangement, with some reservations about the lack of highs throughout that makes the track feel rather dull overall. I still feel like the production could/should be brightened up considerably with the use of more highs, myself. It's a tough call. I keep wavering between passing and rejecting this, based on the EQ issues that I still am concerned about. There is improvement between versions, but I'm not 100% sold on it being enough to post. I'll wait and see what others think about this, and make a decision then. EDIT (4/28): Yeah, I can see what Deia's saying. It's not what I consider ideal, but I'll be damned if I didn't say it sounded intentional. Since it's otherwise a pretty cool track, I think it'll be alright to pass this as is - nice work! YES

Alrighty, so the end of February has come and gone, and I've received a lot of claims to track (as well as a few WIPs!). We're moving along great! Now we're in the stage where I start ampin' the pressure on you guys a bit, so heads up! I'll likely be checking in whenever I can on your progress, so keep in touch on that. The next due date is April 31st, so if you haven't submit a WIP yet that's when I'll need to have something. As you know, as far as making a claim on a track, the period where I'll be listing your claim on here has passed. Feel free to vocalize a claim here, but if someone else submits a WIP of it, that's tough luck on your part! If you want a hold on a track, submit a workable WIP and it'll still be yours! In the meantime, I'm still hashing out ideas for a compo to hold. It needs to make sense, but it also needs to have a tangible incentive to get people to participate. I've got some ideas, but there's still some back room discussing that I need to figure out before I lay it on the table. Alright, folks - let's push this to the next stage of the project!

Alright, so I'll say the good first - I actually really enjoy this track - like, a lot. The atmosphere of it is really gripping, and those dissonances are really tastefully used (even the crashing at the end, believe it or not). Admittedly you use what's provided, but I felt it made sense given how you presented it here, and it's a clear contrast to what's normally on OCR. The performance doesn't feel stiff to me, especially with those three-against-four rhythms at 3:34 - 4:21. Very well done; if this were a stand alone piece, I would actually say it's great. All of that being said, there are some issues with pacing and source recognition that I can't ignore. First, there are some very long, plodding sections that really could be trimmed with little lost in the translation. 0:21 - 1:04 could be cut in half (only repeating the arps twice rather than four times), and 1:04 - 2:47 should cut at least four harmony changes out completely (the 12 harmony changes creates an awkward hyper meter that kills the pacing). The other sections are proportioned relatively well, but those two parts really slow the track down unbearably. The issue of source recognition is tricky on something like this. I'm not against utilizing harmony as a connection, but know that this connection isn't enough to make the source recognizeable in its own right. Sections where you utilize texture from one source with the harmonies of the other works great (like at 0:21), and incorporating the limited melody helps a great deal (like at 2:47), so be sure to make more connections throughout the track other than harmonic ones. I think it's possible to make a really solid arrangement from this, and I think the idea is spectacular. However, I don't think it fits the site requirement of making the source recognizeable quite yet, and the pacing is undoubtably slow in some portions. Fix the pacing, make the source connection using other elements in your more harmonic-only sections and I think you'll have a decent shot. NO

Mmm, I really, really liked this one. It has its share of flaws, but I'll be damned if I say the arrangement as a stand-alone piece is anything other than great. The sound design is just tasty, and the builds are breathtaking. You'd be doing yourself a disservice not listening to this one, even if you're not familiar with the source. Check it out.

Ah, I've been enjoying this one quite a bit. I didn't feel it was all THAT cheezy overall - if that bowflex ad wasn't in the middle of the track, I would've actually taken it at face value. Also, Ab Solution... I just got it. HA! Anyhoo, it's much bouncier than the source, seeming to take you on a less serious, more fun filled adventure, and I'm digging it. The production is pretty solid, save for a rendering error in the beginning of the track (it sounds like the mic was being turned on). The arrangement is pretty spot on, with some pretty neat cameos thrown in there (I'm thinking of the 'Moves like Jagger' reference at 2:20). Yeah, it's really good - you certainly earned Bentley Jones' praise. Let's see this one go up! YES

ReMixer & real name: Eino Keskitaloe-mail: Names of games arranged: Sonic the Hedgehog (Game Gear) Name of Arrangement: Siilin melankolia Names of individual songs arranged: Bridge Zone, Green Hill Zone Source: https://www.youtube.com/watch?v=qYJkol00JCE MP3 link: WAV link: I'm old school in my taste for Sonic. Less characters and less dialogue the better. Even Sonic 2 seems to have too much. To be fair, I haven't played that much Sonic outside the first one (in 8 and 16 bits), but I did grab Sonic Rush Adventure recently-ish and I would've definitely preferred about 25% of story and characters there! But I digress. I think I must have played Sonic first on a friend's Master System. Another friend got a Mega Drive (and Sonic of course) a little later, and if I had played the 16-bit version first, the slower, more traditional platformer pacing of the 8-bit version would feel weird to me. But it doesn't, and I can vouch for the 8-bit Sonic 1 being a great game for the platforms. Though I know it as a Master System game, it was developed for the Game Gear first (confirmed by Yuzo Koshiro in The Untold History of Japanese Game Developers vol 1). Koshiro's company, Ancient, handled the conversion, and he did the music. Some of the soundtrack consists of SN76489 renditions of the 16-bit tunes (such as Green Hill Zone, which is also featured in this arrangement), and some are original tracks composed for this version (such as Bridge Zone music). The conversions are good and everything is quite chirpy and poppy, Bridge Zone being rather a cheerful track. It segues well from GHZ, same key and tempo and everything. I'm not sure why, but this arrangement is the fifth time I'm dabbling with Bridge Zone. It's not really a favourite piece of VGM for me, but it's a good one, and I really like the game. Unlike the original, this arrangement is a bit dark. It started with an experiment on the keyboard, to see if the melody of the A part would work in minor key, and I would say it does. The A part has a ABAC-type structure, but I found repeating the melody of the first two bars built up a nice tension in the minor mode. After a bunch of attempts trying to shoehorn the B part of the original in the minor mode, I went with the original progression, which does give a nice contrast to the darker verse. (These attempts did yield a usage of a bit of the B part melody as a countermelody in the verse.) I felt I needed a bit more material, so I dipped into the intro part of Green Hill Zone, utilizing the four-note arpeggio and the melody, but having it follow a changing chord structure, so that this part, too, turns dark. I'm pretty sure this track was at some point an attempt of doing things quickly, but that rarely succeeds for me. The chorused bassline utilizes samples of my own playing from Miljoonamiehen muistelmat. I tried to keep the beat simple and allow myself some copy-pasting and previous drum sound usage. I think the resulting stiff groove is all right. I put in plenty of electronic drum samples and noises to provide some colour. The rest of the instrumentation is pretty much just e-piano, regular piano, mellotron and a cheap synth sample from an oooold Fast Tracker II tune of mine. Dealing with the last one took a good amount of work and some feedback from the project directors Black_Doom and (regular collab partner) Jorito. I also added some subtlish atmospheric samples (thunder sheets and rainstick from freesounds.org) after Black_Doom's comments. Source usage part by part: 0:00-0:18 No source in the intro. 0:18-0:35 Part A of the source begins, repeating the first two bars of the melody (with some variation) 0:35-0:52 The melody of B part plays as a countermelody, and at the end the part A material resolves to use its "B" portion 0:52-1:09 Source B part, used fairly straightforwardly. 1:10-1:25 The A part is followed in full "ABAC" structure. 1:25-1:42 A part goes "ABAB", with the mellotron providing the B-part countermelody 1:42-1:58 I hope the GHZ intro is recognizable! 1:58-2:15 GHZ intro is taken through some chord changes. 2:15-2:32 First half of the bitcrushed synth solo is original ... 2:32-2:48 ... until here BZ A-part is either in the background or at the front (apart from 2:40-2:42). 2:48-3:17 B part of BZ is repeated twice. 3:18-3:31 The tail end of the outro has no source. That's about it! This was my second attempt at producing an 8-bit Sonic 1 arrangement for the 25th anniversary project, and I'm glad I was able to finish it. Thanks to the directors for steering & feedback and running the project in general! cheers,--Eino

Remixer name: Bluelighter Real Name: Guillaume SAUMANDE ID forum: 30998 Game & Songs: ff10 & Twilight, The Deceased Laugh Interpreter: Guillaume SAUMANDE (piano) Composer: Junya Nakano, Nobuo UEMATSU (only for the first arpeggios) Last Decision: http://ocremix.org/community/topic/34380-no-final-fantasy-10-the-dream-is-clearing-resub/#comment-700195 *NO* Final Fantasy 10 'The Dream Is Clearing' *RESUB* ocremix.org Original DecisionRemixer name: BluelighterReal Name: Guillaume SAUMANDEMail: ID forum: 30998Game & Songs: ff10 & Twilight, The Deceased LaughInterpr... Links: Twilight: https://www.youtube.com/watch?v=1OwyN2VfloQ Final Fantasy X Music - Twilight www.youtube.com "Twilight" from Final Fantasy X. The Deceased Laugh: https://www.youtube.com/watch?v=8XEyt3E5xTk 84-The Deceased Laugh-FFX OST www.youtube.com 84-The Deceased Laugh-FFX OST Hi OCR! Seven years ago, I've made a first version of this arrangement: "Twilight" and "The Deceased Laugh" in piano. My first attempts was made on an acoustic piano and after on an electric piano but with analog recording. Without concluding result… This time, I've recorded this in numeric with an FP80. I feel now the quality is better In response to precedent decision, I've reworked the middle part of the arrangement. The source "Twilight" was interesting to arrange. Junya made an impressive work on this: only 13 harmonies (deep in the beginning and high in the 2nde half), but what harmonies! This piece is so strange, so disconcerting! I was a big fan when I discovered this in piano^^ But it really missed a melodic thread to get sthg cohesive. The precedent version integrated only the arpeggios of The Deceased Laugh. The middle section matched to the 2nde half of "Twilight". At part 4, I've replaced it by the melodic line of "The Deceased Laugh". Part 5 is a little improvisation on some harmonies of "Twilight". There is here a semblance of melody in complete dissonance with the bass. Added to the odd time signature (in 6/8 + 6/8 + 6/8 + 5/8), it greatly contributes to the unease we can feel in this part. With this piece, I hoped get sthg disturbing, frightening! In the original game, "Twilight" appears when the main character has a nightmare, hence the title. New breakdown: 0'00 : dissonant arpeggios (a little influenced by the movie "The Ninth Gate" to announce the following) -> NEW PART 0'20 : arpeggios; one based on "The Deceased Laugh", and continue on the first 4 harmonies of "Twilight" 1'04 : twilight -> hesitating rhythm (notably before change of harmonies) 2'47 : "The Deceased Laugh" the melody adapted to sound with the harmonies of "Twilight" -> NEW PART 3'35 : "Twilight" based on harmonies 0'46 -> 1'00 and 1'24 -> 1'44 -> NEW PART 4'20 : "Twilight" 1'40 -> 2'30 (high version at 4'16 ->4'40) 4'44 : arpeggios on the first 4 harmonies of "Twilight", the culminating point of the piece

Contact Information Tuberz McGee Callum Kennedy tuberzmcgee.bandcamp.com Your userid: 25567 Submission Information Name of game(s) arranged: Spyro: Year of the Dragon Name of arrangement: Dragon Egg Flambé Name of individual song(s) arranged: Sunrise Spring, Sunny Villa, Midnight Mountain, Agent 9's Lab, Icy Peak, Charmed Ridge, Cloud Spires Link to the original soundtrack (if it is not one of the sound archives already available on the site): https://www.youtube.com/watch?v=QxhcNBJgSxs&list=PL613D5BC154DC64FE Your own comments about the mix, for example the inspiration behind it, how it was made, etc.: This mix was made for the Playstation 1 Anniversary album and then that unfortunately fell through so here we are. I've always wanted to tackle Spyro music, as Stewart Copeland is an incredible composer and I spent days of my youth sitting around listening to his jams on my small television. It was the best. I didn't really set out to accomplish anything with this mix, other than paying homage to Spyro. That's it. It's only natural that it turned out as some form of prog rock thing. Yeah, it was a lot of fun to make. Not really sure what else to say here. I guess I'll give a source breakdown. 0:00 - 0:42 - Sunrise Spring 0:42 - 0:58 - Sunny Villa 0:58 - 1:14 - Charmed Ridge 1:06 - 1:14 - Midnight Mountain 1:14 - 1:30 - Cloud Spires 1:30 - 1:34 - Icy Peak 1:34 - 1:50 - Sunny Villa 1:50 - 2:05 - Charmed Ridge, Cloud Spires, and Midnight Mountain 2:05 - 2:14 - Dope Drum solo 2:14 - 3:02 - Agent 9's Lab 3:02 - 3:10 - Modulating passage 3:10 to the end - Sunny Villa, Agent 9's Lab, Midnight Mountain Link: Enjoy~! - Love Callum xoxo

Your ReMixer name Mellow Sonic Your email address Submission Information Name of game(s) arranged Mirror's Edge Name of arrangement Menu Theme / Title Theme Name of individual song(s) arranged Still Alive Composer(s): Solar Fields

Link to the song: Remixers: Ivan Hakštok, finbeard Games arranged: Sonic The Hedgehog 2006 Name of arrangement: The Ultimate Ab Solution Names of songs arranged: Dreams of an Absolution Links to the original soundtrack: https://www.youtube.com/watch?v=tZBctzSajNI Hak comments: This song was done last year for Time Travel Month on Dwelling of Duels, but I've reworked it a bit in the meantime and figured I could submit it to ocremix. I asked Chuck to do the vocals since he's awesome and this song was awesome but he made it even more awesome by, as he said, "spraying bullshit all over the song". Chuck comments: "adam levine is a hack and i'm coming for his job & wife like that movie where they take the guy's face off" - chuck simpson, 2016 P.S. We even got compliments from Bentley Jones himself: https://twitter.com/Bentley_Jones/status/66294752229449728

CONTACT INFORMATIONS Remixers: classic_gamer_76, That Headband Guy, mattmatrice, IplaiGames Real Names: Kevin Blondel, Mike, Matt Matriciano, Andres Gomez Email Addresses: Websites: https://soundcloud.com/k-vin-blondel-480441550https://soundcloud.com/thatheadbandguy https://soundcloud.com/mmatrikshttps://soundcloud.com/masseve Forum User IDs: 33015, 33437, 32637, 33964 SUBMISSION INFORMATIONS: Game: Tomb Raider: The Last Revelation Platform: Microsoft Windows, Sony PlayStation, SEGA Dreamcast, Mac OS Release Date: 1999 Arrangement: ‘A Journey's End’ Song Arranged: Theme Composer: Peter Connelly Original Music: https://soundcloud.com/peter-conz-connelly/sets/tomb-raider-iv-the-last COMMENTS: I don't think this mix is gonna pass, but I want to give it a try and get additional feedback on this one. Plus, it's the series' 20th Birthday this year -- so hopefully it will inspire other, more talented, remixers to come up with a ReMix worthy of the name ^^ Chose to arrange the 'TR4 Theme' for it is my favorite Main Theme in the franchise... and also because EmptyMy already did a perfect arrangement of the classic 'TR1 Theme' back in 2002. Guitars/Bass: That Headband Guy Rhythm Guitars: Matt Matriciano Programming: Kevin Blondel Mixing/Mastering: Andres Gomez After very helpful feedbacks from AngelCityOutlaw, T- Ape and some of my friends, I eventually got in contact with That (talented) Headband Guy to record the chorus and lead guitars as well as the bass I wrote for the track. Not being able to find a drummer or a flute player, I searched for some decent quality VSTs and tried to make them sound as realistic as possible via humanization -- I hope I did well enough. My good friend Matt then joined the party to provide additional rhythm guitars. I finally asked Andres Gomez to take care of the mixing/mastering process for us, for I feared I might screw everything up if I had to do it myself. Seeing all those great remixes being rejected because they're either too conservative or too different from the original source material, I still can't figure out how to correctly balance a mix for it to be accepted. In order to help the judges making a decision, here are a few notes about the track: Chorus Guitar: 0:00-0:38/2:42-2:48/3:03-3:10 -- Start with a few notes originally played by the harp, then arranged into an alternative melody. Drums: Almost all original, except for the ending cymbals. Synth Strings: Always playing 'chords' or melodies from the source theme, sometimes slightly arranged. Bass/Flute/Rhythm Guitars: All original. Sine Lead: 0:32-1:25/2:32-3:05/3:47-4:01 -- Recurrent background melody of the original theme, played by a pitched percussion instrument. 2:08-2:24 -- Original. 3:14-3:20 -- Played by strings in the original theme, in a similar section. Distortion Guitar: 0:42-1:30: Messing around with the classic Tomb Raider melody, often played by an oboe throughout the series. 1:56-2:30: Original. 2:47-3:10: Basically, the Tomb Raider melody as it can be heard in the TR4 theme, at a similar section. 3:15-3:20: This free note is played by a horn or brass intrument, in one of the beginning sections of the source. 3:20-3:36: Cameo of 'ステージ1、ファイナルステージ' [Stage 1, Final Stage] from 'Raf World' [Journey to Silius] by Naoki Kodaka, which Mike and I played around with (love the game' soundtrack so much :3). Special thanks to Eilaire who allowed us to use one of her many amazing cosplay pictures for visual support purposes when this remix was posted on social medias. Be sure to check her amazing work when you're done listening to this mix: http://eilaire.deviantart.com/ Cheers classic_gamer_76 (First track)