Gario

Hi Guys Remixer name: ScandalJayKneel Real name: Jack Densley https://soundcloud.com/jackdensleymusic (Website in the making, but this is all I've got currently) Game: Command and Conquer (1995) Name of arrangement: Re-Act Song arranged: Act on Instinct Original composer: Frank Klepacki Original track found at https://www.youtube.com/watch?v=n4AUY-v1nsE Featuring OC remixer Laarx on guitars! This was the first game that I ever owned, strangely enough on the PS1 but was available over several different platforms. This song will always hit the nostalgia button so I wanted to pay tribute. I wanted to show what the main themes in this song could really be like if the production side was stepped up. With this in mind I wanted to make the song heavier, changing the original key down a tone, introducing some electronic elements and some chip tune; the chip tune synths are used to double the guitars and add texture. The way the song was going i wanted the drums be like Chris Adler from Lamb of god and some sections with the guitars to sound like Slayers Raining Blood. This was definitely achieved. Good friend and OC remixer Laarx helped out by playing the guitars on this track and really captured what I was asking of him and also he contributed to a lot of the layering and harmony in the chorus and ending solos. I hope you'll enjoy it as much as I do. I look forward to any feedback. Kind Regard

Haha, shoot. You don't have to compete for the tracks yet - you're in the clear. The whole 'Survival of the fittest' thing is for people that miss a deadline listed, which is not for another month or so. A WIP tomorrow would be great, though - I look for it.

I got a kick out of how gosh darn funky this whole track is. It's bouncy, it's clever, and it shows that the arranger had a lot of love for this relatively unknown track. I gotta respect that - always puts a smile on my face. MindWanderer is right in calling the piano mechanical. In the beginning it's pretty cringe worthy, since it's so exposed, but as the track develops it fits with the rest of the arrangement. Some dynamics would've helped ease the listener into the track better, but it's not really a focal point of the arrangement, either. I can let it slide. The production is pretty slick. I can hear what MW is saying about the highs, but they don't quite bug me as much. It could be just me, though. Great work! YES

Yeah, this post comes off as a bit of a humblebrag, there. Absolute pitch, while certainly useful, is actually fairly common among more accomplished musicians, as a whole. It's useful to have, but you can still make due musically if you don't have it. On an interesting note, it's also something that people can have 'fall out of tune' over the years, too, so it's not something you want to overly rely on (my absolute pitch, for example, has fallen about a step flat over the years, as reproducing a 'G' often comes out as a 'F#' - a bit of stealth braggin' done right, there!). As far as your post, though, that sounds more like decent relative pitch, not absolute pitch, which is actually a skill you MUST have in order to be a decent musician. Virtually everyone utilizes relative pitch to a certain extent when they compose and arrange, and if someone doesn't use it well it's something that can be taught (perfecting it is something conservatories and universities focus on for the first year or so of education). It's not rare - it's something that's a requirement if you are to be a musician, at all. It's pretty strange to come on to a board for people who've dedicated much of their time to rearranging video game music and boast that you can recreate music just by listening to it (and comparing that skill to Mozart, who wrote his first opera at age 12). I'm half thinking that you're joking, because that's a pretty silly thing to do - it's like bragging to other fish in the ocean that you can swim. Just sayin', is all.

Absolutely true. However, that DOES mean that there are PLENTY of Funiculi Funicula remixes out there that aren't hosted on OCR, if you're willing to look. It's a pretty famous piece, after all. EDIT: I mean, just take a look at this thing, it's hilarious and awesome all at once, lol.

It's indeed a claim you can stake. I'm not too familiar with your music, though, so would there be a chance that you could PM me some samples of your work? Thanks - I'll hold that track for you until then.

I agree that the source is clearly there and the production is great, but I am at a complete loss to how the arrangement is static. The sections change up significantly from part to part, with a variety of instruments being swapped in and out. At most, it might hold for a few measures longer than necessary from section to section (building with small variations over time, as MindWanderer says), but I didn't find it to be a big, deal breaking issue. The instruments used are signature Alexander Brandon, which could be a point against the track (being that this IS an Alexander Brandon source), but ultimately I thought the instruments were used well. The track had some great peaks and valleys that gave enough variety to the energy levels throughout, so I'm going to say it's really not a static arrangement, in this case. I found myself really getting a kick out of the energy of the track, even though it DOES sound like it belongs in a later Unreal Tournament game. I'm all for giving this the front page treatment. YES

Alas, I don't think I named it correctly on the front page (Sorry!). That track actually was covered with a solo piano performance by Evory, so I don't think that spot is available... I'm not one to shut a decent track down, though. Send me what you have, and I'll see if we can make it fit. I have some ideas of how it would fit with bookending an album like this, so get in touch with your WIP.

Simple, but it has a certain 'classic rock' swing to it that I can get behind that's complimented with a deep, heavy tone throughout. Conservative, but definitely a different feeling from the source, there - even in the earlier portions of the track I had no issues with it. The latter portion of the track does a great job playing with the material, though, and is certainly the strongest point of the arrangement. Production is just where it needs to be for something like this, so there's not much else I can say other than rock on, PirateCrab. Rock on. YES

@ACMenes I suggest popping in about a week or so from now to check in on the progress & touch base - from what I gather from another project that Darkesword is running there's a family emergency that's putting him out of commission for a short while. I don't want him losing artists because he wasn't able to respond, as I'm certain he'll get back to you as soon as he's able.

Sweet! There's no pressure to get something in QUITE yet, so feel free to take your time if you need to. First deadline is literally just for non-WIP claims, so you're covered.

Double-post time! It seems to be the right time to start getting this ball rolling hard, so here we go! @bLiNd @Moseph @XPRTNovice @Cyril the Wolf @PabloComa @zykO @Eitzpii @Jorito @Sbeast @DjjD @Amphibious @Alephmale @Quinn Fox Giving a heads up for people that want to claim tracks without submitting a WIP, this is the last week I'll be taking those claims. After this, there will be two things that will happen: 1. There will be a concurrent competition that I will be organizing that will be utilizing the sources that remain. If one of these compos are available, this will be the strongest opportunity to get a spot on the album as a newer or less recognized arranger moving forward. I will be taking three sources at a time, and aside from the first round (which will be a freestyle round) I will be adding genre conditions/preferences. One more detail is that you will have one month to complete a competition track; ample time to submit something of solid quality, but it's short enough to keep you on your toes and push you toward finishing. While the sources are being set aside for the competition, though, I will NOT be accepting WIP claims on the track, so if you wait to make a claim past this week I can't promise the track will be available solely to you (though you may put your track among others into the competition). There will be some advantages to working on your track in a competition format, though, so keep an ear out for it! 2. If the competition schedule doesn't claim your track, you still have the opportunity to claim it yourself, but I will ONLY accept claims with a functional WIP attached to it from this point on - there will be no more red claims on the board from this point forward. If you still want a chance to nail your claim, now's the time. Of course, if you've made the claim, awesome! I will be keeping an active, watchful eye on your progress moving forward, so be ready to be bugged by me soon. If you're one of the venerable members that have a near finished track from ages ago, I will be spending the next week getting in touch with you one-by-one, seeing if there's anything I can do to help get you guys the supplies to finish your track (getting in touch with musicians to help, offering feedback if needed, etc.). I've made a cursory attempt to get in touch, but I will soon be actively pursuing your finished WAV. I am hoping to have these particular finished WAVs long before the final deadline, though, so expect me to be giving you guys some annoying nudges from time to time. Alright, here's hoping I start seeing people pushing forward with their music soon!

Contact Information Your ReMixer name Mellow Sonic Submission Information Name of game(s) arranged Unreal Name of arrangement NyLeve´s Falls Name of individual song(s) arranged Dusk Horizon the track is original by Alexander Brandon

Contact Information Remixer Name: Garoad Real Name: Michael Kelly Email: Website: garoad.bandcamp.com User ID: 18771 Submission Information Game: The Silver Case Name of Arrangement: Lunar Phase Name of Original: The Silver Case Original Composer: Masafumi Takada Original Song: https://youtu.be/NP2Y5HODNNw Masafumi Takada's use of synthesizers are a big inspiration for my own music. I wanted to remix his track 'The Silver Case' as a tribute to him and also to a wonderful game!

Contact Information PirateCrab Daniel Woodyer https://www.facebook.com/PirateCrab / https://www.youtube.com/piratecrabUK 28881 Submission Information Sonic The Hedgehog 3 Aquapump Hydrocity Act 1 "After joining the Materia Collective (https://www.facebook.com/MateriaCollective) and having done several pieces of music with them, an opportunity popped up to do some work on a Sonic album. Hydrocity has been sat in my WIP's since 2013 roughly, and I'd never progressed past the original iconic melody. So I challenged myself, this song HAD to be on this album. No questions. The result is what you hear now! Come at me Sonic, time for some more!"

Hi guys. I just discovered you. Great work. Congrats. I composed the soundtrack of ‘Line Defense’, an arcade mobile game: https://soundcloud.com/legalradiation/line-defense This is the remix I created for the original score (mp3 file attached): ReMixer name: Stam real name: Stam Sarris email address: website: legalradiation.com userid: 34066 Game`s Name: Line Defense (iOS) Name of arrangement: Line Defense Remix Name of individual songs arranged: The original soundtrack of the game Composer: Stam Sarris The game was released late August on the appstore and got featured by Apple under “Games We Love”. It is an action arcade mobile game for iOS devices. At the moment we are working on a major update and that`s the main reason I composed the remix of the original soundtrack. You can find more info here: http://line-defense.com/press/ Thank you, Stam Stam Sarris / Game Designer, Composer LEGAL RADIATION TEAM www.legalradiation.com

I will close this off agreeing with most of what MW and Liontamer brought up above. I will point out that the Harpsichord popping out at 0:11 makes sense in the context of when all the music is playing together, but it really doesn't make sense to pop through that much at 0:11. Context is important - if something really soars above the other instruments like that, tone the levels down a bit until it makes sense to bring them up again. There are also considerable limiting issues with the production present throughout, but due to the dirty sound you have altogether that doesn't quite bother me as much as Liontamer. It's something to be aware of, though, and you'd be better off if you fixed your levels so you didn't have those limiting errors in your track. The biggest thing that brings this down for me is the issue MindWanderer brings up, though - the repetitive and static nature of the arrangement. Instruments are generally used in the same manner throughout the entire track - lead doesn't change, the growls are used in a similar manner throughout the track (save for at 1:17 - nice incorporation of it through that part), the drums vary little throughout, etc. Along with the almost straight repetitions that are present in the track, this leads to an arrangement that doesn't have much new to offer the listener after a minute and a half, which is a shame. The ending doesn't feel like it's finished, which almost makes this sound like a solid (if incomplete) work in progress. It's a great start, but I think there's some further development required before we can give it our stamp of approval. NO

Damn, nearly eight minutes long. You're merciless - making us mod eval people work hard for you. Ah well, you make up for it by giving us some cool music to listen to - it all balances out in the end. EVAL Get started with the good, here - the arrangement is absolutely great. I love the handling of the themes, especially the integration of the various themes throughout (especially utilizing 'Spirit of the Night' as a compositional glue to keep the different sections related - nice touch). When everything is clicking, everything really DOES click. Slick lead work, awesome drums work, and overall a very driven arrangement that seems to tell a story. With a 6+ minute track there's bound to be a few things to point out, though. The aforementioned drums are mixed pretty far behind the mix, which is a shame since they're actually quite well done (particularly, the snare and toms are mixed way to far behind the mix). Letting some more highs through on the snare would be a good idea, as well, as it sounds pretty dull, at the moment. The synth choir that you use in various places (like at 1:12) sounds pretty weak, partly due to the attack on that sample. You don't want it swelling that much, or else on the quicker runs it loses prescence. A similar note can be said on the horns, but for a different reason; tweak the attack a bit so there isn't as much swelling on every single note, as it makes the performance sound mechanical when every articulation is the same. At 4:45 the guitar gets far too wet, there, causing all sorts of clashing in the layering. I dig the delay there - it's a nice effect - but having pretty heavy reverb on top of that is overkill. Tone that reverb down to a minimal amount, it's wet enough with the delay as it is. At the end there is a great deal of silence; be sure to cut that off before submitting. You'd have a decent shot if you submit the track as it is (I would consider giving it a borderline YES, as it stands), but I do highly recommend giving the drum mixing and balancing one more look prior to submitting this, as that drags the track down more than anything. I would love to see this on the panel sometime soon, though, and hopefully posted on the front page, so hopefully my suggestions help you get there sooner rather than later.

Archangel and a Lufia remix? Talk about low hanging fruit, for me. Anyway, I will say, even for an older work, it's a pretty fantastic orchestration. Full of life, and it certainly does evoke the ocean (in more of a 'Time to go on an adventure' sort of way than the source did). The production is pretty great, though I'd argue there's a lack of higher EQ in the track in general, which makes it sounds a little bit dull. It's not a deal breaker, but it's something that I do notice. One other thing here is that some of the articulations for your strings and woodwinds are not quite up to your normal humanization standards. They all have the same articulation throughout, from what I can gather, which does make it sound a bit mechanical. It's not too disruptive to the track, though - it just sounds like everything is sort of "detache" with a lack of phrasing slurs, which isn't a deal breaker for me, either. Otherwise, one of my favorite soundtracks being tackled by a really great veteran arranger on here, how could I not love this? YES

Sorry, I missed this! Unfortunately (or fortunately, pending on your point of view), the Sinistral's battle theme is Battle #3, which has an amazing finished arrangement from Prince uf Darkness and Snappleman. Do take a look at the links on the front page, though - perhaps one of the Sinistral themes when you encounter them is to your liking instead? Just a suggestion!

Contact Information: ZBad Zachary Badreddine Submission Information: Silver Surfer (NES) [1990] "Ride the Silver Line" Stage 1 Theme Original Composer: Tim Follin Link to Original Song It started with me listening to the original track over and over again. I was obsessed with the bass line, the song's high speed, the drum track, everything about it. I wanted to remix the song immediately, but I loved the original so much that I didn't want to deviate too drastically from the source material. So I did my best to simply take everything Tim Follin did and crank it up to 11. It's my hope that this track succeeds.

Contact Information Your ReMixer name: Archangel Your real name: Jaka Čibej (That's a Slovenian male name, short for Jakob - just to avoid any sex-change stuff, that happens kind of often. XD ) 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: Lufia 2: Rise of the Sinistrals Name of individual song(s) arranged: Blue Waters Additional information about game including composer, system, etc.: Yasunori Shiono; SNES; Link to the original soundtrack (if it is not one of the sound archives already available on the site): Blue Waters Your own comments about the mix, for example the inspiration behind it, how it was made, etc.: Greetings, almighty primarchs! Here we go, submission no. 12! I made this arrangement quite a while ago, in the summer of 2013. I have to be honest: summer is not my favorite season. I'm not that fond of the heat, but I do love the sea. So one day when I was bored and felt like making some music, I browsed some VGM to find a nice ocean-related source. Here's where I hear you saying: Aquatic Ambience, duh! Don't get me wrong: I do love Aquatic Ambience as much as the next guy, but I prefer making arrangements of under-represented sources. I finished the track in a couple of days, but didn't release it for some reason. Now it's 2016 and I finally took the time to submit it. I usually have an elaborate backstory for my mixes, but this one was much more spontaneous, so I've only got 'ocean mood meets sailing adventure'. Sorry. I guess you could define this as a spiritual successor to my Dragon Wings arrangement. I used ocean wave sounds instead of cymbals and gongs and included some whale song in the breakdown section in the middle. Enjoy! Here's the link to the mp3: Regards, J.

Link to submission: Contact Information Your ReMixer name: Magnetic Ether Your real name: Karlyn Singh Your email address: your userid: 22769 Submission Information Name of game arranged: The Cat Lady Name of arrangement: Lady in Black Name of individual songs arranged: Don't Follow the Light Additional Information: Soundtrack composed by micAmic. Game released for PC by Harvester Games. Links to the original soundtrack: https://www.youtube.com/watch?v=msg_DMtuXVE, http://vgmdb.net/album/47168 Comments: This is a stoner/doom metal inspired arrangement. As is usual for many of my arrangements, the source has been taken apart piece by piece and then re-assembled in a very different way. The first minute and a half is based on the same repeating riff from the beginning of the source, but little changes are added as the track progresses in order to keep things interesting. The riffs at 1:44 and 2:22 are lifted from the string sections in the original, but are altered to create a more melodic guitar line. The section at 2:48 reflects 0:36 from the original track but extends it, pulling in material from other parts of the source (mainly the stuff played by piano/lead guitar that's dispersed sparsely throughout). The solo at 3:53 is largely original but features references to two other tracks from the OST between 4:13 – 4:32 (namely 0:00 and 1:00 from Two Stone Rings and 1:59 from Psycho). The ending of course goes back to the opening riff to bring it all together. Additionally, the organ parts at 1:04 and 4:45 are based on various piano chords from the source although I can't remember well enough where they came from to give time stamps. The lyrics are based on the “River” poem from chapter 3 of the game but are not a direct reading of it, rather a mixture of lines and words that have been re-arranged into something else. Thanks for giving this a listen

ReMixer Name: Ridiculously Garrett Real Name: Garrett Mandeville Email Address: Submission Information Game arranged from: The Legend of Zelda: Twilight Princess Name of arrangement: The Boss is Back in Town Name of song arranged: After the Battle

AJ DiSpirito (ReMixer and real name are the same) http://youtube.com/ajdispirito userid: 33841 Animal Crossing: New Leaf Morning Jazz Main Street #1 (Day) Composed by Kazumi Totaka Original Track