Gario

(I'm not positive 'Unlinked' is part of the actual title, but it WAS capitalized and all...) Remixer: HoboKa Composer: Motoi Sakuraba Source: Lord Gwyn's Theme, Dark Souls Original: https://www.youtube.com/watch?v=AB6sOhQan9Y Comments: A relatively minimalistic remix to an already minimalistic source, but with choir morphs and some original touch ups with the piano melodies. You guys may need to listen to it 2-3 times to see the subtle changes therein. I know...I know it's cutting it close to the guidelines, but I couldn't resist testing out the waters and such. Hope you guys enjoy it

CONTACT INFO: Mike Norvak Miguel Ángel Ramírez López www.soundcloud.com/noise-boulder-records 24333 SUBMISSION INFO: Duke Nukem 3D Nostalgic Dump Arragement of "Water World" from Toxic Dump level Original song by Robert C Prince www.youtube.com/watch?v=2_8M385HwD4 MIKE NORVAK │PRODUCER www.soundcloud.com/mikenorvak www.youtube.com/mikenorvak

Hello OCRemix, I have been a fan of the video game music you choose to upload for quite some time now and would love to have the opportunity for one of my tracks to make it up there as well! My ReMixer name: OverShield My real name: Dean Kontos Email: User ID: 33724 (just made a new account) Name of game arranged: Sonic 2 Name of arrangement: Chemical Burn Name of song arranged: Chemical Plant Zone Link to OST: https://www.youtube.com/watch?v=-LYB7iLZNWE My main inspiration to remix this track is because it's the first game I grew up playing as a kid. I love the original arrangement so much I thought it would be fun to put my own EDM twist to it. It starts off with a mysterious intro and ends with a punch. I also used familiar sounds from the game to try and audibly simulate sonic interacting with the level. I know this song has been remixed before, but I hope you hear it as something different and enjoy it! Best, Dean

Mazedude album incoming! Better listen to this all the way throu... Oh shit, is that a Tristram remix? OH SHIT IS THAT A GOOD TRISTRAM REMIX?! 5/5 album. ... ... now to listen to the rest of the album.

ReMixer Name: LongBoxofChocolate (feat. Tyler Krug & Mary Horst) Real Names: Trevor Burch, Daniel Perry, Aaron Schmitt, Nick Bello, Patrick Lanier, Tyler Krug, Mary Horst http://youtube.com/longboxofchocolate http://tylerkrug.bandcamp.com/ http://www.maryhorstmusic.com/ Game: Undertale Title: The Spectral Mire Source: Waterfall Hey everyone, This is a dark and brooding post-rock/prog-metal cover of Undertale's Waterfall - and is easily our most experimental work. Live cello, ambience, voice acting, no saxophones (blasphemy!)...there are lots of elements here we have never attempted before. While it is certainly dramatic, I think we managed to dial in just the right amount of cheese to keep it from being painfully serious. Something to note is that all the spoken dialogue is taken directly from the game. The aptly-named "echo flowers" repeat the last thing said within earshot forever, until it fades into white noise. We actually leveraged this idea as an opportunity to interpret some of the game's backstory, which has some interesting implications Of course, this would not have been possible without our collaborators: Tyler, an independent post-rock guitarist who is largely responsible for the original concept, and Mary, a fabulous Atlanta-based cellist who filled a literal void in the song with her performance. We hope you enjoy it. Cheers! Trevor P.S. I have a newfound envy of professional voice actors - cackling wildly into a microphone is hella fun.

I'll take a look at it tomorrow - are you looking for a mod review / eval? If so, you can feel free to tag it as such - might get lucky and have Rozo or Wiesty take a look at it, too.

That number is wrong anyway, don't worry about it. Got that 3DS stolen a few years ago, and all (sucks, especially the loss of 300$+ worth of games). I may post my new friends code up here sometime, though.

Hey, this forum is for posting any VGM arrangements/covers that you're working on, not just those that you intend to submit. If you're curious, this forums ALSO assists people intending to submit by giving them the option to have the track evaluated by staff that is designed to provide a pseudo-judgment (mod review / evaluation), so you have an idea of what the judges will say. Long story short, your track is exactly where it should be on the forum. Very solid orchestral arrangement, by the way. I enjoy the sparse yet somber arrangement of the track. Very classy, really solid listen. Thanks for sharing.

Oh, just take a look at the music in Audacity and notice how it never hits the peak. Amplify it and you'll see you can push 5-6 dBs without causing any production errors - it's legitimately the easiest fix in the world. Volume isn't LITERAL volume; it's the levels as compared to any other track at the same volume setting. You have Audacity? Free program, great for post-production, highly recommended.

EVAL Wow, you managed to do a whole lot with such a short and bare source. Honestly, it sounds like a well produced lullaby that belongs on Esther's Dreams. I hope you didn't wait on getting a response to submit this, because it's very well done. Apologies for missing this the first time around - it just slipped through the cracks. The only caveat is that you'll likely get a "YES (CONDITIONAL)" based on the volume level, but that's a very easy fix for this. Raise the levels on the master track in Audacity so the peaks hit the limiter and it'll be good enough (takes less than a minute). Great work, I hope to hear it on the panel soon.

Oh my God, this is brilliant. If only operating systems counted as OCReMix-able material... If only. Nice way to tap into my nostalgic side, though.

Great soundtrack music - grand and full of energy. It manages to be even more epic than the Dark Souls 3 source, which is impressive considering its own grand orchestral style. Timestamps help out a great deal, and while it's in a different key it's still easy to recognize. There are one or two nitpicks that I can pull from this (but realize they are just that - nitpicks) that has to do with the humanization of some of the strings. The upright bass in the background swells every attack when it would likely slur a few notes together. It's mitigated by the piano a bit, but it was just noticeable. Also, at 1:30 the lead viola (I think it's viola) has a similar swell in the attack when it makes more sense to create a phrase. That's literally all I can say about this, though - otherwise this is just downright amazing. Loved it, great work, let's put this out. YES

Listening to your arrangement and the source, I'm happy to say that it's not close to the Pantera song 'Rise', so that's certainly a plus. Metal is always a solid direction to take DOOM, and there's some cool textural variation in this to keep it somewhat interesting throughout. The arrangement really stagnates in the same harmonic area, though. Even the original DOOM source moves up and down, and the DOOM 2k16 source has some badass background elements that give the track some motion, as well as some neat breaks that really switch things up. This just... doesn't go very far from where it starts. Put some emphasis on those background elements from 2k16, utilize the motion from the original, break the track up with something different, give us something. I get fatigued from listening to this because there is very little change throughout. The mix is very quiet, as well. Looks like there's about 2dB of headroom; don't be afraid to master it to as high as it can go when submitting. For a good deal of the track the bass seems to be lacking as well (from 0:40 - 1:58). Holding back on the bass for a short time for effect isn't a bad idea, but for a solid third or longer? It makes the track sound hollow. Nice approach, and I like the source, but there's little variety that can hold the listener's attention in this. Spice it up, listen to the sources and figure out what keeps them interesting and use that as a starting point. Best of luck! NO

That's a viio6 chord (scale degrees 2,4,7) used typically. It's a diminished chord, but it's one that's been used in such a manner ever since tonal music was a thing. Getting more technical, the dissonance is approached and resolved as it should be, according to contrapuntal second species rules on passing tones (the dissonance is approached and resolved with a consonant interval by sequential step). There is no issue with the chord usage, there.

Hey there! I hope you enjoy it on OCR's forums, and get what you're looking for out of em'. Guzma's battle theme was actually a pretty badass theme in the game, and frankly a refreshingly tough fight in comparison to his team skull buddies, and his theme did ring out as above the rest in the game, to boot. Nice choice of source, there. I think you have some great sound choices in this, and the overall arrangement is pretty cool (nice callback to the oldschool battle music in there at 1:40). I think the easiest issue to point out is the mixing balance. There are elements that pop out (like the drums), and the themes and melodies sound like they're in the background, when they really should be more in the 'front' of the mix. Bring out the themes better, pulling back the drums if necessary (don't raise levels if it causes clipping or production issues - lowering other elements can achieve the necessary results as well!). Great take on the source so far, though. I hope some of the advice you find on here is useful.

Quick post, so people don't think I'm dropping the ball: Magfest is happening this weekend. While I unfortunately will not be attending, I know at least a few of you (and quite a few staff) will be participating there. I've still got my eye out for volunteers, but this will be going full bore next week after everything settles down again. I hope y'all had a great Holiday!

Just giving a heads up, I let John know about the volume adjustment a week or so ago, and he seemed willing to do it, so we might get the update on it soon (hopefully!).

Haha, I think this still counts as a VGM arrangement of his theme. Neat idea, has a lot of energy. As far as humanizing guitars, I can see where you're coming from. You do some good work in this, but there seems to be a tendancy to copy paste prior guitar licks, which makes each section sound the exact same. Copying notes isn't a bad thing, but copying the envelops that make the guitar sound more human makes it sound less realistic. Humans change how they play the same thing from phrase to phrase, so copying and pasting the envelops makes it clear to the listener that it is indeed not performed by a person. Sounds pretty cool, though - nice little arrangement of His Theme in the style of Bonetrousle.

I'll let you know the source usage was sufficient, even slightly conservative (though not TOO conservative, in my book). Just throwing that out there, for completeness' sake. Giving a heads up, Rozovian isn't wrong in his analysis, either - it IS repetitive at its core, and you might have a few judges go that route and NO this on those grounds. I gave the opinion that I did specifically because I know the context of the source and understand this is a bit of a joke remix (based on the barrel that makes no goddamn sense as far as game design goes), and the things that make this annoying to listen to (that damn ostinato, the repetitive themes, etc.) fit in with the theme that it's a really, REALLY annoying level. The voice clip in the middle cinches it as 'Definitely a joke', and I didn't find any particular production issues and such to withhold a vote otherwise. But again, Rozovian isn't wrong on his criticisms, so if you want to play it safe on the panel (as a few judges may agree with that line of thought) pay attention to what he said and adjust accordingly.

Man, this IS a tough one to judge. I'm very sympathetic to chip arrangements and such, and this DOES have a really cool idea behind it. I'd even argue that it's different enough from the source to not be considered too conservative because of the neat concept, but I could see how others could call this too conservative. The execution is bare bone, though, and it doesn't do much to make it interesting enough as a stand alone track. As this evolves through the sections using chiptunes and FM synths, I've got to look at those sections as part of that style, and in that regard it isn't well executed. The notes are right, but when they basically play the theme from 0:00 to 0:45 it just sounds hollow and bland. If you're going to chiptune, listen to what other amazing chiptune artists do with their sounds to make so little sound like a lot (Shnabubula is a genius in that regard, as is Rushjet1, who recently took the honor of first pure chiptune posted on OCR). The same goes for the FM synths; if you're going to evolve into FM, go balls out and really make an FM arrangement. Geckoyamori and Txai (on Youtube) have some EXCELLENT examples of how FM can be handled to great effect. Echoing what I said about chiptunes, if you're going to utilize pure FM at points in the song, REALLY use them to their fullest, as again, if you don't the music will sound hollow, uninteresting and bland. Your later sections (from 1:40 on) sound interesting and full, since you move on into the sampled sections. These sections sound designed for that style, so it sounds layered and interesting by design at this point. I love the concept, and I think it can work if you use your elements properly, but as it stands the execution leaves it empty and uninteresting for too long of a period. Chiptunes and FM synths can be SUPER interesting for the listener, so please make it rich, complex and interesting through and through. NO

EVAL This is a very interesting take on a cool song from a terribly frustrating level (yes, I've experienced the frustration of "UP AND DOWN" myself, I feel the pain). As far as this arrangement goes... it's weird. That's not a bad thing, as I still got a kick out of it. I think you were going for that, too, so good work. The beginning drags a bit. After 1:13 things take an interesting turn, but for a song that's less than four minutes that's a little bit of a stretch to have little more than the bass, theme and repetitive ostinato. One or two small moments of glitching will help keep the listener's attention while not spoiling the rest of the track too much. Interestingly, it grows on you once you know what it's going for. It's annoying, it's frustrating to listen to, but it's well produced and let's face it, you WANTED this to be frustrating (like them barrels). The beginning could use a LITTLE bit of sprucing up, but otherwise I can't think of any suggestions that would improve this without compromising the frustrating nature of it. It would make for an interesting submission for OCR, though; I think you'd do alright on the panel even as is. ... And yes, I laughed a little at 2:19. The frustration was real.

Announcement: The project is back online. Please refer to the new thread for details... and please refrain from jokes that this is the second time a new thread has been necessary.

(Art by Zeth) The time has come: The definitive OCR Lufia project is officially online again (Again!)! The Lufia series has one of THE great soundtracks of the SNES era, and Bahamut wanted to honor it with an album project. This was at a time where MANY albums were being developed on OCR, and this one quietly trudged along. After some time I agree'd to help co-direct the project, but even with my help this project fell into a deep slumber of relative inactivity. Bahamut's life became too complicated to continue this in earnest, and I've had school and relative job insecurity that held me back. While Bahamut still has other obligations in life that don't allow him to dedicate the time to finish something like this, my time has cleared up, which has allowed me to take this project 100% head on again. I will be the director of this album from this point on, with Bahamut's blessings. All of my thanks goes to him for starting and establishing this project, getting it to where it is today. In addition, Theory of N has agree'd to co-direct this album. As the scope of the project expanded outside of my ability to control it when it... spirals to the nether, he is here to keep everything on track. So far he has done wonders behind the scenes, and I am sure he will continue to do so. Any music from Lufia II and its DS remake will be accepted for this project. It's a compromise between the original vision (Lufia I & II's soundtrack) and the later vision (ONLY having Lufia II music); there are quite a few good Lufia I tracks that were rearranged for the DS remake, so some of those Lufia I tracks have become available again. This is a list of the music that already has a prior claim: if you are not on this list then you don't have a claim to this music. Music that's considered a Prime Pick is music that the album really shouldn't be without - please pick one of those, if one is available, as that music is iconic. Solid picks are other great tracks from the soundtrack, though they're less iconic to the soundtrack. The tracks that would be Nice to have are tracks on the OST that are less known, and would likely not be missed if they're not on the album. However, please pick any track that suits your tastes - I will not reject a good WIP of even the lesser known tracks! Claim (No WIP) Claim (with any WIP) Significant claim (50% WIP) Nearly finished (90-100%, without WAV) Finished (100%, WAV submitted) Reserved/Claimed: Opening Theme (Evory) The Prophet (Daragan) Battle #2 (Gario) The Silent World (DjjD) Parcelyte Presidential Administration / Port City (Flexstyle) Mountain of No Return\Labrynth (bLiNd) Battle #3 (Prince uf Darkness & Snappleman) Tanbel Abandoned Mine (Rockos) The Earth (World Map) (P.M. Crockett) Priphea Flowers (Audio Fidelity) To the Future (XPRTNovice) The Last Decisive Battle (P.M. Crockett) Big Bridge (Gario) Soma Shrine (Above Ground) (Gario) (Bonus Track) To the Azure Skies (Cyril the Wolf) Tranquility (PabloComa) Parting (djpretzel) The One who will Save the Earth (Jorito) Cardia Shrine (Artem Bank) Door of the Journey (Rockos) Battle #1 (DaMonz) Rumbling (Jeremy Robson) Flute of Sleepwalk (Abadoss) Town of Abundance, Elcid (Antti Pylsy) The Time of Judgment (bLiNd) Logimos Shrine (Above Ground) / Towering Mountain (Vodou Queen) The Three Towers (Bunnylord) Confrontation with a Great Enemy (Zack Parrish) Music Available: Solid picks: Lexis Laboratory Water Capital, Parcelyte Castle of Stone, Bound Kingdom Ancient Caves Battle Despair and Destruction The Strongest! The Greatest Thieves in the World Throne Room Nice to have: Fortress Town, Gratz Empire Forest Village, Eserikto Logimos Shrine (Above Ground) Mountain Path of Ice Fog Soma Shrine (Below Ground) Gratz Underground Factory Wedding Bells If it's not on the list, it's open to claim for yourself. Any track from Lufia II or the DS remake are fair game; while I will be posting a list of songs in the near future, you can make your claims now. If you're a posted (or to-be-posted) ReMixer, the claim will be held (until you miss a date). If you are not a posted ReMixer, please either PM me a sample of your work, or send a well produced WIP of the track you'd like to claim. Here is a list of due dates for this album (2024): No more submissions will be accepted at this time. This is the final, no exceptions submission date for the album. There have been a few folk on here that have wanted to contribute since the last album submission - which is greatly appreciated! However, hell or high water this is when this album will be submitted to the site again, so if the final product is not finished by this date, you are not going to be on the album. Let's make a Lufia album that's truly worthy of the Gods!

Alright, I promised an announcement, so here it is! I will make an announcement tomorrow! Apologies, but I ended up out of town, so I wasn't able to really make this announcement today. However, I will be at home tomorrow, so I'll lay it all down then. See you tomorrow!

I trimmed the thread - you may post the other remixes in new threads. Glad I could help.