Gario

Man, a LOT of the Lufia 1 additions from the DS game being gobbled up, here. Good thing, too, since those are some of the better tracks on the DS! All yours, Amphibious.

Oh shit, that file rendering error is my bad... I'll fix that link when I get home. SORRY, forgot about that - use his link for now.

ReMixer Name: MrRickHard Real name: RickHard Segerman Wallin Email: Website: www.soundcloud.com/mrrickhard User ID: 30148 Name of game: Superman Name of Arrangement: "Kryptonite Not Included" Name of Individual Song: Superman Stage 4 Remix Console: Sega Genesis/MegaDrive (Source@15:49)

Hi, I'd like to submit my remix for OCRemix. Please let me know if there's any additional information needed. Your ReMixer name - MBlacki Your real name - Maxwell Palacki Your email address - Name of game(s) arranged - Undertale Name of arrangement - Genocide Name of individual song(s) arranged - Megalovania

Remixer Name: Jacoby DavisWebsite: soundcloud.com/davisjacobymUser ID: 33912Submission Info:Game of Origin: Metroid Prime 2: EchoesName of Arrangement: Torvus Catacombs Name of Songs Arranged: Submerged Temple Comments: I wanted for a long time to create a remix of the theme to the Submerged Temple in Torvus Bog. The original song iteslf is Kenji Yamamoto’s remix/reinterpretation of the Lower Brinstar theme from an earlier game in the Metroid Series. When I created it, I was intending to give it a similar style to my original song Motion, but as I progressed further into the song, I gave it much more of a heavy influence leaning towards melodic variants of dubstep & drum and bass hybrids. The song was produced using LMMS, relying solely on custom programmed ZynAddSubFX synths and drum samples. In total the instrumentation called for four melodic synthesizers, two chord based synths, and six separate bass synths.

Howdy folks, Remixer name: Jorito Real name: Jorrith Schaap email: forum id: 3899 ReMixer name: Tuberz McGee Real name: Callum Kennedy e-mail: forum id: 13677 ReMixer name: BardicKnowledge Real name: Ryan Thompson e-mail: forum id: 12956 Name of Game(s) Remixed: Castlevania Name of Arrangement: Dark Reflections Names of songs arranged: Castlevania: Portrait of Ruin: Banquet of Madness (https://www.youtube.com/watch?v=9qcOtuw7qBI) Castlevania Legends: Vampire Killer (Final Battle) (https://www.youtube.com/watch?v=PgmkCme5wLg) Castlevania: Symphony of the Night: Dracula's Castle (https://www.youtube.com/watch?v=NsMxsMbN2Gc) Castlevania: Wicked Child (https://www.youtube.com/watch?v=E7PFm7mrdVY) Castlevania II: Simon's Quest: Last Boss (https://www.youtube.com/watch?v=Qdb0B2XbM_Q) Link to the remix: Comments about the mix: This was the track I did for the final round in the Castlevania: Cacophony of Incarnation compo organised by MindWanderer. I duked it out against OA, me representing Dracula and him representing Simon Belmont. This track was quite the challenge in that MindWanderer provided us with a lot of Dracula themes to mix with your own source but a lot of these tracks are pretty quirky and mostly consist out of scales, arps and suspense devices, not the melodic content I prefer to work with. Ultimately I narrowed down the list of 17 tracks to the handful that had a bit of melody to work with and decided to use more than the 2 required sources as well as my opponent’s track. Hey, it’s a final so we should do something spectacular, right? As for genre, I was inspired by Nightwish. Of course that means chugging guitars and orchestral elements, and that meant again bribing Tuberz McGee for some guitar work. Fortunately he could make a bit of time for it despite the short deadline, and it really helped a great deal in making the track come alive. After compo the thing that really stood out like a sore thumb to me was the tenor samples in the original. So I asked around for a tenor that could do Opera like vocals, and after some asking around I reached out to BardicKnowledge for vocal assistance. With an actual vocalist on board that meant the track could have lyrics too, so I wrote up some cheesy dark lyrics featuring Dracula as the protagonist. After compo was also a good time to polish up the mix, add the extra suspenseful measure at 4:05 and the demonic chants at the end. So there you have it, a journey through the track and through Castlevania land. Big cheers to Callum and Ryan for collaborating with me on this track and channeling Dracula’s energy to make it the dark tribute it’s supposed to be! Lyrics: Revived once again, I, Dracula, return. The dark beckons me. Give up the fight, open your heart, let your demons rip you up inside. You cannot hide, there's no salvation, your blood and your soul, they are mine. Risen from the grave, I'm again alive, to conquer your souls and your hearts. Ruin and despair, deep within mankind, reflections so dark feeding me. Children of the night, hearken to my call, let chaos be wrought on this world. Give up the fight. Give up the fight. Give up the fight. Source usage: 0:19 - 0:38: melody heavily based on Wicked Child intro 0:38 - 1:16 - intro from Banquet of Madness 1:55 - 2:14 - melody A from Wicked Child 2:14 - 2:33 - Vampire Killer (Final Battle) 2:33 - 2:52 - melody A + B from Wicked Child 2:52 - 3:33 - Vampire Killer (Final Battle) + Wicked Child counter (2:52 - 3:12) 3:36 - 4:04 - Wicked Child 4:14 - 4:33 - Dracula’s Castle (SotN) 4-33 - 5:02 - Last Boss (Simon’s Quest) Cheerio, Jorrith

Contact Information Username: timaeus222 Name: Truong-Son Nguyen http://soundcloud.com/timaeus222 http://tproductions.comeze.com/ ID: 24526 Submission Information Game: Assassin's Creed IV: Black Flag ReMix Title: Sanctity Consoles/Platforms: PC, PS3, PS4, Xbox One, Xbox 360, Wii U OST Composers: Brian Tyler, Sarah Schachner, Olivier Derivière => Freedom Cry Sources: The British Empire, The Spanish Empire (attached) Hey guys, So I talked to Brandon, and he decided that I can submit this track separately; it'll still be on his album, regardless of his plans with it, but we've approved it to be a solo track on OCR upon acceptance. NOTE: This was dated before the Brandon fiasco. Tread carefully. - Gario ReMix: - MP3 - WAV or, attached if the Box bandwidth runs out. Comments: "Every now and then, when I write ReMixes, since it's not often that I've already played the games whose soundtracks I reinterpret, I adapt it to a specific genre. By not slapping on a genre and working within its confines, I aimed to put the focus not necessarily on the enjoyability of the ReMix itself, but on trying to make an emotional connection with the game. For this AC4 mix, I wanted to base my inspirations off of the feel of "The British Empire"; between the metallic ethnic tones, the santoor-like piano, and the judicious use of live solo strings, I thought "The British Empire" was interestingly meditative and mountainous overall. About 2:30 in, I also felt the desire to incorporate another theme for dynamic variation, and I chose "The Spanish Empire." When I hummed British Empire atop Spanish Empire, I got an alternate connotative perspective on 'mountainous' (more spaghetti western-esque, but also of course, spanish), which helped me to introduce new harmonies to the main motif of British Empire. I also really liked it as an accompanying melody in general. Overall, I wanted to try to elevate the meditative and mountainous vibe (hah, get it?) of the original by adding a middle-eastern flair (dulcimer, saz, didgeridoo, Turkish oud); some distant thunderous gran cassa, bass drum, and timpani; a lot of involved percussive work (courtesy of Rhapsody Orchestral Percussion); and a synthesized open-hole flute (haha, it's not a sample!). I found the original to be fairly neutral in direction, so I also wanted to kinda bring together all the aspects I loved about the original and give it what I think is a clearer direction."

Ah, tough to say. I'll talk to you about it tonight on discord, as it hinges on how many people I can get on board with it.

Oi. Faris and that pirate theme is open. I'm game for a claim.

Yeah, it's pretty common with projects that a few people drop out. Better to catch it early, though, so others can cover the openings, rather than later. Also, congratulations on making it official.

Ah... I can feel MW on this one. It's such a cool piece otherwise (those 7/4 timings, the interesting background textures, solid production etc.), but man that saw is overpowering and overbearing. It's like purchasing a 5 star meal... then pouring ketchup all over it. Everything else that's cool and interesting in the track is drown behind that one synth whenever it's present. If you must utilize the basic saw wave, use it sparingly. Experiment using other synths to carry the lead, make the lead as interesting as the rest of the track. It's a shame to send this back with just this one issue, but it really does take the track down quite a bit. The silence is an easy fix, so do cut the 50+ seconds of silence off the end of the track, as well. NO

Fusion jazz Chemical plant. Reharmonized, but entirely recognizeable. Slick production. I dig. YES

Well, I'm coming into this fresh - I didn't have the chance to listen to the original submission. From the sound of it, you had some issues with the handling of the samples and overall levels, which sound corrected here (this definitely sounds live, and the levels are fine overall). The pacing is deliberate and plodding, and in more active moments it sounds similar to the FF8 piano collections arrangements. I admit the soundscape is still pretty empty sounding, but the overall mood does cover this up a bit. Oh, for anyone interested, the use of parallel fifths at 2:10 sounds absolutely great - I know I'm known as a counterpoint junkie, but when they're used for effect and NOT for independent lines they're perfectly fine to use (for my ear). Just thought I'd point that out to all y'all haters. Overall, I've got little to say on it, as I think you addressed whatever issues the panel had prior, and it's a pretty slick arrangement. Nice work. YES

Well then, thanks for sharing, and I'm sure you'll find people that would love to have a guitarist work with them on an arrangement or two. Hopefully you find something on OCR to keep you motivated to make sweet, sweet music!

Great production, very nice interpretation of the source on this one. There is certainly an issue of the second half of the track sounding very close to the first half, though, which takes it down a bit. I hear the guitar flourishes and additional elements to make the sections stand out, but it doesn't feel like enough to make the second half sound justified. I'm certainly in the camp of 'This would be a great 2 minute submission', though I disagree that between the first and second minute causes issue with repetition - there's more than enough flavor to keep it interesting up to the two minute mark. Not much else to say; there's only one real issue with the track, but repeating 50% of the song (almost) verbatim is a deal breaking issue. NO

Huh, I'll have to check it out / tell my GF about it. She's a big FE fan, and the latest game got quite a few hours out of me recently.

Alright, everyone: Announcement! I've set up a Discord page for us to meet, talk shop, and establish how we'll move forward from here. This is where we should plan on really figuring out our house rules, how we can figure out what we want to sing, talk choral composition shop, etc. It's taken me a little while due to increased duties on OCR, things moving out for the Lufia album, SMRPG release, etc., but this IS still on a pretty high priority. I'll be PM'ing you guys about it, as well as sending invites to people I know are on the list.

For now, whichever method you choose is fine. Just send me a link to your works in progress via PM and I'll be able to handle that fine. Eventually I'll start opening the project forums up for newcomers, but that's take me a little time. Glad you're stepping up to bat to make the album better overall.

And it is yours! That's legitimately my favorite track from Lufia, so be sure to kick some ass with it.

Apologies! I don't have the file on hand (it's probably on Bahamut's hard drive at the moment), and it's my mistake for not reaching out to you earlier for it. I'll put your track in the source list on hold until I get the latest copy of it from you.

Seeing that you're looking for advice and direction, I'm not reading this as an actual eval; that would be something that you intend to submit to OCR, and are looking for an evaluator or judge to pop in and give how they believe it would be judged. If that IS what you were looking for, a (quick) eval: this is a VERY conservative interpretation of the source, with the instrumentation and arrangement being very similar to what was provided in the soundtrack. While covers are not inherently an issue, that would definitely earn this track a rejection on (or even prior to) the panel. Again, though, I doubt that's what you were looking for, so a heads up: only use Mod Review / Eval for the purpose of submitting a track. As a standalone track (and NOT looking at it as a future OCR submittion), it's clean, and it flows quite well. The use of sidechaining was subtle, but it does leave some room for the four-to-the-floor well enough. It's something that's less noticeable, but it does improve the clarity of the track, so props to some solid chaining. I enjoy the track, and feel like it would've worked well as a re-arrangement for a DS or 3DS version of the game. Thanks for sharing.

EVAL Oh, Show-pan! How I love his work - glad to see something inspired by him. I hear quite a bit of Chopin's Aeolian Harp Etude in this track, and the mix works well in this context. It's a solid idea to mix the style with this particular source, beefing out those background harmonies with the rolling arpeggios like that. Be careful with your pedal work - while romantic music (especially Chopin) is known for it's judicious levels of pedal, the style still only used as much as necessary without causing dissonance due to notes bleeding over. Rolling arps are great when holding the pedal, but moments like 1:02 - 1:04 sound like a messy wash of dissonance. While your technique is really good, I will mention there are plenty of times where themes get drown by your background elements in a way where it doesn't make too much musical sense. 2:15 - 2:25 fails on this balancing act (emphasis on the bass is powerful, but what thematic elements are being brought to the front?), as well as 2:50 with the left hand being drown by the right (though it's less of an issue than the other example). Pianist problems and all, but be aware of not only what you're bringing out, but also why you're bringing it out. In a Chopin and Rachmaninoff performance it's often either a temporary emphasis in order to clearly bridge two sections, or something is heavily emphasized in order to illuminate an otherwise less obvious motif. My crits are nitpicky and a little more style-oriented than strictly performance oriented, but I wouldn't be helpful if I didn't try to point you in the right directions wherever I can; hopefully it's food for thought for the future. If you submit it even as is you'd probably pass the panel, my personal crits on it aside; you develop the themes well, the source is easy to point out, and the performance is excellent. Not perfect, but certainly excellent, and something that I got a kick out of regardless.

... I knew that. Also, track is yours. Get at it!

Ah, it's nice to vote second sometimes - gets someone to do the heavy lifting while I take the credit! *ahem* MindWanderer gets it pretty solid, in this case. The arrangement is absolutely stellar, and from experiencing the game it makes good sense (as that's sort of how those themes play out at the end of the game). I did like the blending of His theme and the Undertale opening music, though - that worked incredibly well. The mechanical orchestral instruments are the biggest drawback to this arrangement, which really show in the exposed moments (like MW said). I do hear the efforts to humanize, though (the dynamics are there, and I do hear variety in the articulations); it's just for a few moments the articulations don't sound right (4:11 with the small swells for each hit, for example). It's passable, even if it's not perfect. The production is solid, arrangement is great, and the issues are minor. I'm all for getting this through the door - great work! YES

Final Daos battle is a great choice - great battle music, wasn't a part of the project prior (due to it being in the DS and not the original Lufia 2) so it doesn't have a claim. If you want to look at music, start there and work up. My humblest of suggestions. Also, I really like that track, as it was a classic from Lufia 1.