Gario

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.

This is cheating a bit, but I'm going to use my evaluation from the album eval, as nothing has changed from that. A bit conservative, and a touch more realism on some of the instruments would've been nice, but I don't think it's enough to give this anything but a YES. YES

Jorito, you would be a great addition to the project. Just let me know what you've got an eye on and I'll mark it for you. Eitzpii, that's plenty to hold a claim for a 1st WIP, so the tracks are yours! I only request you send me some downloadable versions so I can store them properly, and once things get moving I'll give you some advice on where to go from what you've got. Welcome aboard! I've tweaked a few dates on the project, to account for the relatively slow start-up for the project (having no response until late January/early February counts as an extraordinary circumstance, to me), but seeing more people post in here with interest is a great thing to see. I moved the planned first compo to two weeks from now, but that WILL be when they start. For those that are less known, it's a great way to get something on the project easily and quickly, and for more experienced members there will be benefits to taking the compos by storm. Details on them in a week, where I will be announcing them on Discord and Facebook.

Hi OC Remix, I'm sending another music submission! I submitted an orchestral arrangement to the catalogue a long time back, but it wasn't accepted due to it being too short and not sufficiently developed. That was a few years ago, but I'm back with another submission, this time an electronic, D&B flavored remix of the main theme from the indie game Papers, Please by Lucas Pope. Contact Information: ReMixer name: Vonyco Your real name: Forest Muran Your email address: Your website: Vonyco.com Your userid: 52078 Source Game: Papers, Please Name of Arrangement: Red Anthem Name of Song Arranged: Papers, Please Main Theme System: PC Original Composer: Lucas Pope Personal Comments: In this remix my intention was to capture the drudging, yet militaristic energy of the original piece, as well as transmute the sardonic bitterness of the game's atmosphere into electronic sounds. The resulting remix remolds the form of the original, dividing its linear outgrowth into steel-hard electronic solos that playfully juggle the Slavic, folk-flavored themes of the original piece. I hope your judges enjoy the remix, and I look forward to hearing back from you guys! Thanks for your time, Forest Muran

Did I need to attach the artwork? Nope! Did I attach it anyway? Yup! EDIT: Alright, I guess I gotta vote on this too, so here we go. Ah, one of my favorite sources from one of my favorite games, and the arrangement is handled pretty solidly. As MW mentioned, the copy pasting is pretty minimal (to the point where I don't notice it, really), and while it follows the structure pretty conservatively there's more than enough interpretation in the instrumentation to consider this the artist's interpretation. I'm not sold on the production of this, though - it just sounds overly crowded throughout the track. The upper EQ range is thoroughly saturated throughout the track (really sounds like a lot of 'hissing' throughout), and overall the balancing act of keeping important elements to the front doesn't seem to be in play here. The bass at 0:30 and 1:13, for example, just shoots to the front of the mix, leaving the melody behind it (further obscured by the sidechaining, no less). Even the texture at 2:31 has more prominence at this point - the balance just isn't clicking on any cylinders, here. I understand the theme in this source isn't as dynamic as the texture, but one of the reasons the texture is as cool to listen to as it is would be because it's playing against such a strong, slow theme. If the theme is downplayed as it is here and relegated to the background then all of those textures sound repetitive and nonsensical (as the ear is catching them as the supposed melody of the track). The balance is working at odds with you, on this. The stereo spread on this is pretty excessive on the mid/higher EQ end of the track. A little stereo spread is good to give your bass space (as you did here), but too much makes the whole track sound hollowed out and thinner than normal. Lower the spread a bit to give a more even sound throughout. I like it, but I'm not feeling it yet. Rebalance the mix, balance the spread and work on fixing the crowding on the upper EQ range. I can see this being a great mix for OCR, but I think it needs a bit more TLC on the production end of things. NO

Hello OCRemix Team, my name is Patrick, aka SpreadFire, and I'm a hobby-musician who likes to play around with electronic music. I'm also a huge Metroid fan, and that is why I decided to make and submit to you a Remix of my favourite song of the franchise due to its 30th Anniversary. The song itself was completely made by me. I also go by the Metroid-related username of Black Falcon on forums and on Youtube, but SpreadFire is my music artist name to be used here. Song description: Biosphere is a more eletronic approach to Super Metroid's original Green Brinstar Theme. While staying mostly true to the original arrangement, slight adjustments were made to enhance the atmosphere and rythm of the song. Song is in 192kbit/s Mp3 and 3 minutes 24 seconds in length. I also attached the cover artwork I made for the song. I sincerely hope you enjoy listening to it as I enjoyed making it! Looking forward to your decision. :

Note: I did NOT post the version sent in the e-mail, but rather the version that he tweaked for the sake of the album he eventually released for the sake of consistency, as well as the fact that he sent this BEFORE making adjustments for the album posting. - Gario Old Decision 1) Remixer Name- Yoshiblade 2) D L Forum ID) 52832 1) Game Being Arranged- Castlevania: Portrait of Ruin 2) Name Of Arrangement- Hail to the Present 3) Name Of Arranged Song- Hail From the Past 4) Original Composer- Michiru Yamane 5) Oxford University, Suite 1987 Oxford, England Dec 5th, 1936"Esteemed colleges, I present to you the most peculiar occurrence I can recall in all my years. Approximately 10:31 P.M. I attempted to reach Cairo Relay Station. I felt it best to contact, Dr. Carter and report on our current situation, when as quickly as I have ever seen, an errant sandstorm blew in from the East. Our radio produced nothing but static on frequencies I know to be valid, until I heard the most haunting sounds that, I should think, have ever existed. My immediate reaction was to engage my personal wire recorder and capture these bizarre sounds. The wave like squelching seems to be a warped radio signal, yet I clearly hear a violin and drums that beat with a rhythm I found to be irresistible and drives with a spirit I have not yet encountered in my travels. There seem to be an interaction between a one Jonathan and Claire and a yet unknown female ( who’s voice is like that of a siren to my ears) The strange effects, which I can only deduce are of an electronic origin (which are of no discernible origin, at least no current origin) clip and stutter, twisting the waveform of these fantastical sounds, as if one were fumbling with a tuning knob, which is very apropos, due to the nature of my interaction with this eerie encounter, the likes of which may very well change not only how we Egyptologist understand this mysterious place, but our very understand of the past, present and future” Prof. Harker PhD. Esq. MD. Rev. LMNOP Beefed up the snare, fixed some levels and smoothed out some transitions. Ive got some spoopy Halloween themed remixes coming down the pipeline soon, I realize they probably wont get a listen until after Oct 31, but just a thought if you wanted them for the Halloween Season. Thank You for the Listen! Original https://www.youtube.com/watch?v=fg1PDaOnU2Q

ReMixer name: jnWake. Name of game(s) arranged: Sonic the Hedgehog 2. Name of arrangement: Chemical Fusion. Name of individual song(s) arranged: "Chemical Plant Zone". Note: This mix is included in the Sonic 25th album headed by Black_Doom. LINK TO ARRANGEMENT: Mix comments (same as the album ones): So, this'll be a slightly weird thing to say for a Sonic tribute album but I've actually never been a Sonic fan. Well, I guess that's because I never owned a Sega console so I didn't get many opportunities to actually play Sonic games as a kid. Despite that, I do have vivid memories of playing Sonic 2 and failing spectacularly and frequently at the Chemical Plant Zone stage. While the memory itself isn't particularly pleasant, it also comes with awesome background music!When the opportunity came to participate in this album, I immediately thought of covering one of Sonic 2's most obscure and less remixed tracks: Chemical Plant Zone! Uh, something's wrong with that affirmation... I tend to like covering tracks that aren't that popular but I couldn't help myself this time, since this track is simply phenomenal. So, when I started doing the mix I listened to the many (many) remixes of it that exist both here and on YouTube. To my "surprise", a large percent of them where what some people would call "technomanga". Ok, that isn't really surprising but this song is actually pretty funky so it surprised me a bit that nobody (that I could find) actually had done a more "conservative" remix, style-wise. With that in mind, I went for a more conservative take on the track inspired on its jazzier/funkier roots instead of the dance-oriented approach most other remixes went with.Talking about the remix, I also settled on a small goal: using FM patches. To get a bit of that Genesis feel I tried my hand at crafting some patches with FM8 for this remix. The bass patch and the two synth leads were born this way! I'm no expert at using FM8 but I like how they came out!On the arrangement, I didn't go for anything really complex but I'll detail it here anyway:- 0:00 - 0:30: Pretty straightforward take on the first section of the source.- 0:30 - 0:45: Based on the second melody of the source. Chord progression is "original".- 0:45 - 1:27: Synth/Guitar solo duel! Backing chords are an alteration of the first section. Also, drum solo!- 1:27 - 1:43: Straightforward take on the second section of the source.- 1:43 - 2:09: Based on the melody of the previous section.- 2:09 - 2:34: Based on the third section of the source (the transition that ends the loop). - 2:34 - End: Based on the first section of the source, taking some liberties here and thereHope you like it!Also, I should thank to timaeus since he gave some feedback when I was finishing the track and helped master it.

Holy CHRIST, that is some meaty guitar and drum work (sick gallops on them drums, to boot). So simple, so short, so goddamn elegant. This is a perfect little thrash arrangement; there's no reason to panel perfection. - Gario Contact Information - That Headband Guy Mike Stevenson www.youtube.com/c/thatheadbandguy 33437 Submission Information Street Fighter II "Burning Vigor" Ken's Theme - USA A typical "THG" metal arrangement - starts with the theme, builds to an original rhythm/solo (while keeping in the confines of the source material) and resolves back to theme. Production wise, no notable faults that are picked up by my ear. Your experience may vary, which is fine! For the solo section, I was going for a very 80's Yngwie Malmsteen keyboard versus guitar - typically operating around D Harmonic Minor which gives it a classical-esque flair. Kind regards, Mike

Hi guys, hope you're doing great! Contact Information Chernabogue Alexandre MOUREY ID: 17636 Submission Information Spelunky (PC) "Raiders of the Ark of Doom" "Caves" Composers: George Buzinkai, Jonathan Perry, Eirik Suhrke This remix was made as part of a project called "The Archaeologist's Journal" on OCR. It was a bit of a challenge because I never played Spelunky and thus never heard its soundtrack. A quick search and I was hooked to its main theme. I draw inspiration from epic movie soundtracks and trailer music. In the end, it sounds more like the credits theme for a morning cartoon starring Indiana Jones, but I'm proud of what I've done. OCR made me discover and appreaciate new music once again! LINK TO REMIX: Hope it's all good, as always!

The blending of sources in this is pretty superb; you definitely push both sources together while keeping them both sounding distinct enough to pull apart throughout the entire song. I consider that a job well done - Ground Dung beetle is a trickier source to work with. The production values are high, and the arrangement flows well. Listening to it through, it checks all of my boxes for what makes a good remix. It's not without a few things amiss, though they are minor. That rhythm guitar seems to be lacking some high end, which to my ear makes it sound dull. This gives space to your synth and other instruments later on so I can understand why that choice was made, but it feels like it went a little too far in the other direction and dulled the impact the guitar otherwise could've had. The piano throughout is pretty stiff and mechanical. It's not ever the center of attention of the piece so it has little impact, but when it's more expose playing those chords it has no dynamics, no life... nothin'. Little touches to breath life into background elements can transform a good song into a great one, so some more attention to the background would've been appreciated. As MW points out, the sine synth is pushed pretty far behind the mix. You get a bit more sympathy from me, considering I've used it in multiple arrangements of mine (Zeal Feels Good, and more recently Nimbus can Wait) - that is a super pain in the butt synth to work with that you can't just throw in anywhere and expect it to fit in. Your soundscape needs to be designed to fit it in, or else in an effort to make it heard it'll either make certain specific frequencies skyrocket, or it'll be super quiet (as it is here). Unless you're really going for the specific sound a sine gets you, I'd suggest either going for a flute next time (very similar sound, easier waveform to work with), or working with a different synth altogether. At 1:59 - 2:05 I'm not feeling those chord progressions. I get it - the melody does something similar for Ground Dung Beetle (can't spell the actual name, won't even try), but it doesn't do so harmonically, as it does here. I rarely rag on voice leading, but in this instance it just sounds like it's randomly jumping between two chords without any rhyme or reason. It's poor form to leap from one block chord to another, as it just sounds disconnected - be careful about that next time. It's a lot of little things, but they're very small things in the grand scheme of things. The two sources blend great, the themes are still catchy and the production is clean. It's not a hard choice to pass this one. YES

As many as you feel you can handle. If you can manage a good WIP for two tracks and keep up with deadlines, they'll be yours. And yes, Lufia's soundtrack is amazing.

Prior decision Re mixer Name: Wiesty Real Name: Dylan Wiest Email Address: User ID: 11643 Name of game(s) arranged: Final Fantasy VII Name of arrangement: Shrouded Reactor Name of individual song(s) arranged: Mako Reactor *Re-submission* This is a resub (as requested) of Shrouded Reactor. The panel felt the sample used on the piano and the overall loudness of the track needed some work. I've upgraded too a much better piano sample and have hopefully worked out some of the volume issues. I performed the track in one take so hopefully there shouldn't be any humanization issues. Hello! This is a simple piano arrangement of Mako Reactor from FF7 I arranged. This was originally to be part of the FF7 Web series project until it came to halt. The concept was to arrange the reactor theme in a way that reflected the mystery/eeriness of the Mt. Nibel Mako Reactor. I think this piece captures the unpleasant feeling of walking through Mt. Nibel and discovering the Mako reactor quite well. I hope you enjoy!

Alright! I will be marking it down as claimed, good sir! Also will be adjusting the deadlines a little tonight, considering the slow start this is getting, but a WIP would be amazing.

You son of a - I thought you were above us plebs on the panel! Anyhoo, it was certainly a very ecclectic arrangement on the album, and one I enjoyed. The good ol' harpsichord against the chips and trap beats mix in a way that makes it so the listener really can't turn away. The production is pretty solid (save for a moment or two where things come in all at once and get cluttered, like 0:23), from what I can hear, and the arrangement certainly has enough source (and very much has its own personality), though the ending leaves me hanging as it just sort of... ends. I'm not 100% sold on the mixing of this, as the harpsichord really pops to the front too much in comparison to the rest of the arrangement, making it almost sound piercing in comparison. It's not a crushing dealbreaker, but it IS something that just stands out throughout the mix in a less-than-positive way. Otherwise, it seems to be like a great future post for the front page. YES

Source ----------------- Your ReMixer name - Aubrey Hodges Your real name - Aubrey Hodges Your email address - Your website - aubreyhodges.bandcamp.com (album sales) and aubreyhodges.com (info, blog etc.) Your userid (number, not name) on our forums, found by viewing your forum profile - 33671 Name of game(s) arranged - Quest for Glory: Shadows of Darkness (QFG4) Name of arrangement - Quest for Glory: Shadows of Darkness - Official Soundtrack Name of individual song(s) arranged - Introduction-Prelude, Erana's Staff, Erana's Garden, Battle: Fairy, Battle: Chernovy, The Music Box 2 Additional information about game including composer, system, etc. (if it has not yet been added to the site) Original Composer: Aubrey Hodges, released in 1994 on PC, Mac, Amiga Link to the original soundtrack (if it is not one of the sound archives already available on the site) http://aubreyhodges.bandcamp.com/album/quest-for-glory-shadows-of-darkness-official-soundtrack Your own comments about the mix, for example the inspiration behind it, how it was made, etc. - These arrangements are part of my recent official soundtrack release that includes 42 new arrangements. I wanted to revisit this music in order to raise the quality bar that simply wasn't attainable at the time the score was originally composed. Most everything is played live and some pieces were rearranged to increase length. I tried very hard to maintain the spirit of the music but wanted to create a more nuanced and emotional delivery. The end result is far more satisfying to me and I finally feel that the score has become what I heard internally while composing so many years ago

This was a tough source to find (In fact, I failed entirely - searching for Ma Ti nearly caused a direct rejection, due to that source being so different!). I'm glad the artist gave me some details on where the source was in the end, because this mix is absolutely great - the cheese of the 80's oozes through this, driving the theme like an old 80's show. If Captain Planet was just a little older this could've been a theme on the show, but I digress. While the synths are used in a predictable fashion, there's enough twists and turns in the arrangement to keep it fresh. Instruments drop, synths stack in slightly different ways throughout, the arrangement takes turns that are unexpected... it manages to stay fresh with such a limited soundscape. I've got to commend that I was never fatigued throughout, which I expected to be at first. The drums are pretty boring, but at least they're STYLISTICALLY boring. That doesn't give it a free pass, but it does help alleviate the issue a bit. The fade out ending was weak, but in an otherwise very strong arrangement I think we can let it slide. The production is slick, the arrangement checks out, and it has enough personality to keep any avid fan of the 80's bouncin'. Ship it off to the front page, I say. YES

Team robot? Hopin' for team Knight. Laaaaaame... My bitching aside, I'm ready when you are.

Oh shi-