Gario

Mp3 link: Contact information: RemiMixer Name: Instant Remedy Real name: Martin Noriander Email: Website: http://www.irsounds.com Submission Information: Name of Game: Captain Planet and the Planeteers Name of Arrangement: Instant Remedy - Captain Planet (Synthwave Mix) Name of individual song: Final Stages (level 5/6)? Additional game info: Original composed by Ben Daglish (although Anthony Crowther is sometimes credited) for the Amiga version. Own Comments: A tribute to the 80's synthesizer era. The Synthwave genre have grown in the later years and I can see why: we love the retro feel and miss the great music from movies and television from the good old days. Instant Remedy on Spotify: https://open.spotify.com/artist/0dvP4j3IM7Av4SBTwTXSFV Instant Remedy on Soundcloud: https://soundcloud.com/instant_remedy thanks (Source @ 1::24:30)

Your ReMixer name: Slimy Email: Website: https://soundcloud.com/slimy-4 User ID: 30104 Submission Information: Game: Star Fox Name of Arrangement: Lonely in Space, With a Waltz Name of Songs Arranged: Sector Y Links to Originals: https://www.youtube.com/watch?v=Na6ejAgJInQ Comments: Since the first episode of "A Fox in Space" came out, I've had Star Fox on the mind, so I threw together a Sector Y, (that's right, the space whale level,) remix because I hadn't been making too much music at the time. The first half of the remix is based almost entirely on the intro of the original - often slowed down and in different keys. It gets pretty abstract at 0:51, and the main melody finally comes in at 2:14. The waltz starts at 4:02. Originally there was going to be no waltz section at all because it just didn't sound good. However, after hearing the "Rosetta's Comet Observatory" song from Super Mario Galaxy, I added some flutes to play on the second and third beats. Without that detail, I think the second and third beats would have sounded very dry and boring, and I wouldn't have bothered completing that section. I had some trouble exporting this, so I owe some thanks to the people in the Discord server for helping me out. _ _ _ _ _ _ _ _ Since much of this song is remixing all of 2 seconds from the original, I'm including a source breakdown. 0:00 - 0:50 The 2 second intro, slowed down and in a different key. The bell motif from the source continues while pretty much everything under it is original. 0:51 - 1:27 Original 1:28 - 1:55 The intro, this time in the same key but still slowed down. 1:56 - 2:35 The intro, this time at the same tempo as the original, albeit in different keys. The main melody comes in at 2:14. 2:36 - 2:53 Piano motif was inspired by the original song's intro, but isn't taken directly from it. 2:54 - 3:34 Main melody 3:35 - 3:58 Second part from the original song 3:59 - 5:17 Basically the source song 5:18 - 5:51 Original 5:52 - 6:07 Main melody again 6:08 - 6:28 Original 6:29 - 6:57 Main melody

Jesus, this is freakin' gorgeous. The overall style is calming, somber with a hint of Celtic folk in the vocals. Everything about this track really does send some shivers down my spine. I will point out that the vocals, while absolutely beautiful, does have the tendancy to go flat from time to time (such as at 1:47-1:48). I will also note that I felt there was a little bit of a missed opportunity to bring in some real meaningful lyrics to go with the voice, but that's more of a nitpick than anything. All things considered, though, the tuning is a bit less of an issue with the more Celtic style you had going (though don't make any mistake, it IS still an issue). The arrangement is very well done, though, and the vocals fit wonderfully regardless; it'd be a crime for me not to pass this. Great work! YES

Remixers: HoboKa, Stahalamora (vocals) & Chimpazilla (remaster, added some sfx and compositional touch-ups) Album: paths less traveled Source: https://www.youtube.com/watch?v=IhqdOJibkUc Comments: Well I love this OST, as does everyone else who participated in the Terranigma album 'Paths Less Traveled' - Odai and a few others whom I can't recall their names b/c my memory is seriously hampered. Prob early onset. ANYWAYS, decided to employ Stahalamora's vocal chops in order to make a cool orchestral, sing-songy, conservative remix. Sprinkled with the feelings of wanting, sorrow and perhaps just a hint of sexiness.

It's pure chiptune (not talking VRC6, either; it's standard NES chipset), so I'm feeling this will have some contention. If the production wasn't 110% high quality stuff on its own, and the arrangement wasn't spectacular I wouldn't have inboxed it, but seeing that it's Shnab+ in execution, and the arrangement is superb, I think it's fair to discuss it. As far as I'm concerned, I think it could use a little spreading of the channels (like Rushjet1 did for his posted track) so that it fills the speaker space a bit better, and it would benefit from more use of the PCM channel to give it some more breadth of sound at times, either for stronger drums (like how Rushjet1 and Mario 3 utilize it) or for another instrument (like how it's used in Journey to Silius). I don't think it's entirely out of the question to post something like this with more minimal tweaks, however. I've got a HUGE bias on pure chiptune (it's a genre I listen to quite a bit), so I'll defer to others on here before giving a more definitive vote - I'd likely lean more in favor of posting something like this than not. Thoughts?

Slower, more powerful than the source (of which was specified to be the Smash Bros. Brawl rendition - there are some differences between DKC2 and the Brawl version), it hits all sorts of sweet spots for me. It has nice pacing, the change to swing time from the source is rather brilliant, and it holds some really grand moments throughout; the track does more than enough to leave its mark, even at the short runtime of 2:34. I love the overall tone of the guitar work, with the jazzy, rock lead against the acoustic backing (which eventually gives way to some power metal), it works great. The performance it pretty solid, and the production is almost perfect. At 1:48 - 2:18 there is some noticeable mud to the mix, which makes some of the backing instruments get lost in the mix somewhat. The leads punch through, though, which is the most important thing for something like this. The ending is pretty lame, too - it just kind of stops - but I can let that slide due to the overall high quality of everything else. I'm diggin' it. EDIT: Looking at it again, Chimp and Nutz are correct on the production issues that are present - it hits the limiter pretty regularly throughout (especially when the drums hit), and at 1:48 - 2:18 it's brick walling pretty hard, as well. I don't believe it's enough to sway my vote, as it's not easy to notice casually (except, again, at 1:48 - 2:18), but it would be remiss for me to leave that out of my decision. EDIT #2: Improvement is up now. It doesn't change my vote, but it DOES make it stronger now. Pretty much a DP quality post, now. YES

Delicious metal remix of some classic music... oh boy, do I like it. The power metal is just pure chuggy goodness, and the switch to the ballad, while a little sudden, works beautifully to break the piece up. I could hear this as an instrumental on a Megadeth album, and it would work amazingly well. Considering Megadeth DID do a VG metal arrangement or two in his time (Duke Nukem!), that's not entirely out of the range of possibilities. The game SFX at the end was sudden and didn't fit at all, but it doesn't kill the arrangement. I would be remiss to leave out the fact that it plays out a little like a medley, but I've heard metal tracks that transition from power metal to a ballad before, so it didn't bug me too much. Overall some high quality power metal to tickle everyone's ears with... everyone WILL listen to it, right? YES

We are excite.

DOH! forgot to sub that remix!! Remixers: HoboKa & Chernabogue ; original concept me ; Chernabogue touched up stuff and remastered things with his superior sound library and skillz. LINK: source: https://www.youtube.com/watch?v=Kgit8zlIupo Description: Well, it's an orchestral semi re-interpretative remix. Has some original elements to it, and was also inspired by the more recent Castlevania on the PS3 as well. Hoping you guys think its worth putting this bad boy in the OCR rosters.

As far as the production goes, I do hear the lack of highs in this, and I hear the very wet arrangement. As far as the wetness, that doesn't bother me much - that feels like a stylistic choice to evoke the ethereal mood of the source. I agree that it could've let the solf mallet marimba (that's the instrument in the beginning) do most of the ground work, though - adding heavy delay and reverb to the keyboard and other percussion does take it out of the realm of reality a bit. The lack of highs is something I had an issue with in a prior Slimy track, and yeah, it does affect this negatively, too. To be honest, it doesn't bother me much, but it is something of an issue. It's a tough thing to put a NO on, since the arrangement is pretty sweet, and that orchestration and humanization is oh so good. I can't deny what the other judges are hearing, though, so I think I'll need to agree to see if Slimy could send us a touched up version to post. I do hope he does! NO

ReMixer name: jnWake. Name of game(s) arranged: Mega Man X3, Mega Man X6. Name of arrangement: Beetle Dopplerganger. Name of individual song(s) arranged: "Doppler Stage 1" (from X3), "Ground Scaravich" (from X6). Note: This mix is included in the SFRG album headed by timaeus. LINK TO ARRANGEMENT: Mix comments: I wrote this remix as my first entry in the SFRG 2015 competition. It's a mix of my chosen tune (Ground Scaravich) with Darke's pick the round (Doppler Stage 1). When making the arrangement, I quickly realized picking Scaravich as a tune was a big mistake because it has barely any recognizable melodies... Instead, it has strange chords. Hence, this remix takes Doppler Stage 1's melodies (which are easily recognizable) and blends them with the weird chord progressions of Scaravich. I also went for a slightly progressive rock style with piano and synths which is kind of my usual style of composing I guess. This version I'm submitting now is actually pretty different from the original one I submitted to the competition. I rewrote a large bit of the rhytm guitar/bass lines, added some variation to the leads and even removed a repetition from the arrangement to help the pacing. Also, I made my best attempt at polishing the mixing to have a decent sounding song. The synth patch from the solo in the original version is also replaced by a patch from timaeus who somehow figured out the solo I played without any MIDIs in like 1 hour! Anyway, hope you like it!

Track: ReMixer name: Overkillius real name: James Wilkinson email address: uberkillius@gmail.com website: http://www.youtube.com/user/Overkillius userid: 33843 Name of game arranged: Touhou Chireiden ~ Subterranean Animism (東方地霊殿　～ Subterranean Animism) Name of arrangement: Dance of Decision Name of individual song arranged: Corpse Voyage ~ Be of good cheer! (死体旅行　～ Be of good cheer!) Additional information: Theme of Rin Kaenbyou. Stage 5 Boss. Link to the original soundtrack: https://www.youtube.com/watch?v=ZZoJLMuq_cQ Rin Kaenbyou Dancing in Hopeless Masquerade was the inspiration for this. This song is my absolute favorite from the Touhou series, and Rin is also one of my favorite characters, so I guess it didn't take much to push me to arrange it. I started making an NES chiptune, with no expansions or DPCM samples, that started vaguely as a high BPM dance-ish track, and then swiftly deviated from that into what it is now. I make extensive use of chromaticism, extended tertian harmony, complex meter, meter changes, and a little bit of polytonality (all within the realm of tertian harmonic structures) to arrange the material from the original piece. As I composed the arrangement, what guided me was the exchanges between the heroine and Rin in Subterranean Animism. Rin doesn't actually kick off the events in Subterranean Animism, but she is the one who initially gets the attention of the heroine. Rin fights the heroine to test if she is capable of solving her problem, namely that her friend is trying to take over the world. In the final stage of the game, Rin tries one more time to defeat the heroine to take her remains (because I guess that's her hobby or something) but fails. I find the scenario interesting; Rin is desperate to stop her friend from taking over the world, though she doesn't feel like she can do it herself. She's also desperate to gather the remains of the heroine before the heroine has the chance to die and disintegrate in hell, even though defeating the heroine would mean that the heroine couldn't deal with her friend. Not only that, she appears 4 times in total (most characters only get 1 or 2 appearances), and two of those times she doesn't even talk to the heroine; she obviously has issues with confrontation. I don't know how to describe it in words very well, but this relation strikes me on a personal level, kinda related to the essence of procrastination and warped priorities.

AJ DiSpirito AJ DiSpirito AJ DiSpirito 22 year old composer from the island part of New York. I usually compose for video game and animation projects. ... Donkey Kong Country 2 Bramble Blaster Stickerbrush Symphony (based on the brawl version Bramble Blast) LT EDIT (2/20): Got the new version with the following comments from AJ: Here is my resubmission of the DKC2 remix. Thank you for all the great feedback! I didn't mix/master this track very well back in 2015.

May I add that I am actually interested in what you have in mind? Now you've got TheChargingRhino requesting Star Fox analyses, as well, so you have an audience.

Contact Info: Remixer name: Outset Initiative Real name: Zeke Fenelon Email: Website: www.outsetinitiative.com Userid: 24461 Submission Info: Game arranged: Super Smash Bros. Melee Arrangement name: Choose Your Character! Song(s) arranged: Menu 1 Comments: A laid back jaunt through Super Smash Bros. Melee! This remix was originally created for the Materia Collective fighting game tribute album, VERSUS. Shout out to the fellas behind the Collective for organizing this fantastic project; enjoy the remix

Quick analysis of the portion in question (as it was requested): In the source (1:04 - 1:34), the interlude runs like this: IV-(bVIb5)-(VII#3#5)-(II#3)-IV. It's a strange progression to write out, but there it is, for completeness sake. In reality, it makes far more sense to explain it as the bass outlining a fully diminished chord (4-b6-7-2), which is conveniently made up of minor 3rd spacing between each note. This means all of the voice leading and such can be repeated indefinitely, and it ALSO means that it can lead back into the chord that it started at (IV). The technique is called a chromatic sequence, for anyone interested in the literal music theoretic terminology. For the sake of making it sound palatable in the source, even though the bass notes outline something that doesn't naturally occur in the key (fully diminished chords do NOT naturally occur in the scale, except in harmonic minor) the notes above the bass are changed so they always make up a major chord. This is why the chords look as strange as they do, as Roman numerals. As far as functionality, it's one large decoration of the IV chord. Very pretty, and holds the space well, but it's just a decoration. If you want another example of this technique in practice, take a look at 3:08 - 4:11 of my FF9 track "The Throes of Death(guise)" (Aw yeah, self promotion!), though instead of every chord being major, every chord is minor, and there's an intermediary chord between each chord that outlines the bass (which is a Neo-Riemannian L-P-R transformation, which are non-tonal... but that's a bit off topic). It also serves the same purpose - it decorates the minor tonic chord for a significant period of time using a chromatic sequence. OA does know that this is the source chord progression, as I discussed it with him. I'm waiting to see if he'll revise it with that info in mind, since he said he'd likely just make it work with a different progression altogether, which would be great, as well.

Hi there! This is my first remix, done for insaneintherainmusic's Jazz competition. I'm pretty proud of it, as I am by no means a Jazz musician. YouTube link: Contact Information Your ReMixer name: Hi, My Name is Alex (That's the name of my channel, anyway) Alex Mott https://soundcloud.com/alex-mott 32965 Submission Information Shovel Knight Swing thy Shovel! Strike the Earth! https://youtu.be/wqAYMZSOQao I just kept humming this song to myself with a shuffle rhythm. For like a year. Then I finally decided to make it. I played the guitar and bass parts, and everything else was done on a MIDI keyboard. The digital instruments are all from EW/QL libraries. The brass and woodwinds are EW Hollywood Gold, and the drums are from the EW ProDrummer Joe Chiccarelli library. Hope you like it!

Haha, this is on the panel, as we speak. Here's my thoughts on it: EVAL-ish Batman first stage... Yeah, that's a great source. I'm surprised I haven't heard a straight metal arrangement of this yet, as it works wonders like this. Heavy, some real great licks and solos throughout and just does so many neat things with the source later, this track does an already great source justice. It does have a few areas that are rough around the edges. The bass is pretty oppressive in this, first and foremost. I can understand to a point, since it's a pretty iconic part of the source, but it really could've been mixed behind the lead guitar better than it is here. As it stands, it sonically gets in the way of the other instruments, such as the guitar (which sounds like it's being drown by the bass and drums). Looking at the waveform, there's also a bit of overcompression that occurs from time to time. It looks like there was a pass on the compressor at the end, as there's a lot of headroom, so you might consider releasing a version without that last pass on the compressor. It's loud enough, so there's really no need to compress it for volume, here The strings are not the best, but honestly they are not a huge focus at all in this. They rarely stand out, for better or worse; They could be better, but I don't think they bring down the track much at all. I really enjoy the arrangement, though; even before the soloing at 2:10, I'd argue it takes it in a pretty different direction from the source at 1:05. It slows it down, cuts it to half time and sounds more like a power ballade for Batman than the straight thrash the rest of the track presents. It's a really solid approach. The ending could've been better, but what's there isn't the worst. TL;DR: Mix the bass so it isn't nearly as oppressive, mix the guitar so it's a bit more prominent, tinker with the rest of your mix so that overcompression doesn't occur nearly as much and maybe see if you can give it a more definitive ending. It's a great arrangement, though, and there is a LOT going for it, but those mixing and production issues may hold it back a bit. It's a fairly strong arrangement, though, so it's not dead in the water, but fixing the production would make this soar through the panel.

It's going to seem like cheating, but seeing that I hunted for source back when he posted this in the WIP board I'm going to say the source usage easily clears our bar. It's a medley, but it's one that makes sense as a stand alone track - each part seems to show progression of a journey, and there are elements of the main theme that tie it together at the beginning and the end. I very much enjoyed this approach. It was brilliantly orchestrated when I eval'd it, and he took my advice and made it even more phenomenal with some more subtle touches to the humanization. Legitimately great stuff coming from Ganaé, here - hope to hear a whole lot more from him! YES

ReMixer name: Solkrieg Real name: Ryan Watson Website: https://www.youtube.com/user/OfficialSolkrieg/videos UID: 30563 Name of game: Silent Hill Name of arrangement: Not Tomorrow Name of individual song(s) arranged: Not Tomorrow

Oh, another note - reverb. Adding some sense of space for the horns will help considerably as far as making them more realistic. Considering how dry the live instruments are don't overdo it, but that can help a great deal glaze over the fact that they're samples if you sprinkle just enough reverb onto your brass.

CONTACT INFORMATION ReMixer name: Slamrarn Real name: Sixten Machado Website: https://soundcloud.com/slamrarn Userid: 33785 SUBMISSION INFORMATION Game arranged: Tom Clancy's Splinter Cell: Chaos theory Name of arrangement: Deafened, Blinded Names of individual songs arranged: Ruthless, Ruthless (Reprise) Systems: PS2, Xbox, Gamecube, PC Link to missing source (Ruthless): https://www.youtube.com/watch?v=uFs1DcYP7ZY Comments: One of my first thoughts after deciding to use Ruthless as my source was that I couldn’t compete with Amon Tobin in creating beats, so I instead focused on competing with his sound design through synthesisers. One of the things that stuck with me the most from Chaos Theory was the guard’s panic, when they can’t see or hear anything but know that the threat is there, and the player’s panic when they are discovered and all the slow, thought through sneaking turns into a mad scramble to escape and recollect your thoughts (or reload a quicksave if you’re a wimp). I tried to capture the ears ringing, vision blurring, blood rushing stress of both in my arrangement, and I’m pretty happy with how it turned out. And here’s the ReMix:

The track : Your ReMixer name Ganaé Your real name Matthieu Loubiere Your email address Your website www.ganaemusic.com Your userid (number, not name) on our forums, found by viewing your forum profile http://ocremix.org/community/user/32916-gana%C3%A9/ Name of game(s) arranged : Parodius (or Parodius Da non sense Fantasy) Name of arrangement : Non-Sense Paradise Name of individual song(s) arranged : 4 track are arranged here Parodius dance : https://youtu.be/SjSSKbRqV30 Hello PAro Chan : https://youtu.be/arzNLIqstAQ Vic Viper : https://youtu.be/MItu2PsAVJc Pantarou Theme : https://youtu.be/mpcMy5DaFdc Additional information about game including composer, system, etc. (if it has not yet been added to the site) : Snes/SFamicom - Composer : Hidenori Maezawa Link to the original soundtrack (if it is not one of the sound archives already available on the site) Parodius dance : https://youtu.be/SjSSKbRqV30 Hello PAro Chan : https://youtu.be/arzNLIqstAQ Vic Viper : https://youtu.be/MItu2PsAVJc Pantarou Theme : https://youtu.be/mpcMy5DaFdc Your own comments about the mix, for example the inspiration behind it, how it was made, etc. Parodius was for me a big game. It was absolutely fun and so difficult for gamers. In this track, I tried to mix different themes from the game and keep the main feeling : funny, mess, and enjoyment. For the first part, I choose to play with different instruments. You noticed that the original introduction (Parodius Dance) is 10 second long (was a big challenge to make it longe). You can hear different leitmotivs. I tried to mix them as each instrument play each leitmotivs. After the exposition, I go for the player selection theme (Hello Paro Chan) and I chose to play it very slow with strings. In the game, you could choose between 4 characters and the beginning of the song changes between them. For the third part of my track, I chose to mix 2 characters themes (Vic Viper and Pentarou).To finish, there is a reexposition of character selection theme. A lot of fun to make this track. I hope you'll like it and perhaps play the game. Enjoy it. The track :

Your ReMixer name: SlimyWebsite: https://soundcloud.com/slimy-4User ID: 30104Submission Information:Game: The 7th SagaName of Arrangement: The Beautiful WildernessName of Songs Arranged: Overworld Theme 2 Links to Originals:https://www.youtube.com/watch?v=kRNYy8tooj0Comments:I played a game called The 7th Saga once. In this game, I needed to travel to the seaside city of Bonro, across an impassable mountain range. The only way to continue was under it - through the frozen depths of the earth. A cave where grotesque monsters would come from the dark to attack me, and where a bounty hunter waited to kill me.The song this remix is based on plays when you finally exit the cave. Although the world of Ticonderoga is mostly brown, as I stepped into the daylight, I couldn't help but think that the wilderness I was now in must look really beautiful. Perhaps in a Mediterranean sort of way. Anyway, these are the feelings that inspired me to make this remix.

For what it's worth, I do like the changes that were applied; the chords fill the space well, and they flow rather well all things considered. I do have to say that this is very conservative in its use of the piano, though - that backing piano part follows the source pretty strictly, from what I can gather. The sound space is a little strange. Half of the piano sample is too dry and mechanical, and the other half (carrying the theme) is a little too wet. The choir is VERY wet, which makes the dry piano sound that much more out of place. If you're going to set up the sound as if it's being played in a particular space, be sure to make it consistent. Otherwise, it ends up sounding like the parts were all recorded in different rooms. The conservative nature of this, as well as the inconsistent reverb between instruments and mechanical instruments take this one below the bar. Interesting concept, though. NO