djpretzel

HAPPY HALLOWEEN! OC ReMix and YoshiBlade present Candy Corn III: Direct to Video!

October 31, 2018
Contact: press@ocremix.org
FAIRFAX, VA... BOO! Celebrating Halloween, OC ReMix is proud to present YoshiBlade's Candy Corn III: Direct to Video, the third annual release in the Candy Corn EP series. Direct to Video features five game arrangements and six vocal drama tracks with EDM takes on game series like Mega Man, Final Fantasy, Kingdom Hearts, and more.
The album was produced to help promote video game music, was made by fans, for fans, and is not affiliated with or endorsed by copyright owners; the games, characters, images, and original compositions are copyright their respective owners.
Candy Corn III: Direct to Video also marks the sixth Halloween album release for the OC ReMix community. Besides YoshiBlade's two previous Candy Corn EPs, Ghetto Lee Lewis released 2017's Heretic Sinphony, arranging the music of DOS FPS Heretic, 2015 featured the Castlevania-based album trilogy Vampire Variations, and Joshua Morse created OCR's first solo artist album with his 2009 Castlevania tribute Sonata of the Damned.
About OverClocked ReMix
 
Founded in 1999, OverClocked ReMix is an organization dedicated to the appreciation and promotion of video game music as an art form. Its primary focus is ocremix.org, a website featuring thousands of free fan arrangements, information on game music and composers, resources for aspiring artists, and a thriving community of video game music fans. OC ReMix operates under the umbrella and sponsorship of Game Music Initiative, Inc, a 501c3 non-profit charitable organization (EIN: 81-4140676).
###
Download it! http://ocremix.org/info/Candy_Corn_III:_Direct_to_Video Torrent it! http://bt.ocremix.org/torrents/Candy_Corn_III_-_Direct_to_Video.torrent Comments/Reviews: http://ocremix.org/community/topic/47724/  
 

I've been working on attempts at Psytrance and find the style interesting. That said I think PsyNES knocked this out of the park. It's got great energy and lots of swag. I really like it.

Totally agree that this sounds like electro-swing but a bit "trancier"  LOOOVE both style, love this remix!!

truth. my music was arguably better when i was changing strings once a year and not tuning 

zyko knows what's up tho, I never have, nor will I ever question his dedication, I'm still on the fence about him deciding to start tuning his instruments, tho

Hey y'all! Long time no see. Given the somewhat irregular output I've had recently I wanted to make sure this was kind of a big thing before I posted in GenDisc (If this doesn't count, I throw myself to the mercy of the mods). I've been pretty busy going back to school and getting ready to have a kid here pretty soon, but I wanted to finish a song and make a video before the baby comes. Believe it or not, my (seven month pregnant) wife actually helped out a lot on the video side of things and made the video shoots of the pumpkins possible. Anyway, I wanted to post this here because, to be honest, my mindset while making this song was very similar to how we do ReMixes here; take the original and do an original arrangement of it. I love the Halloween theme and Carpenter's style, both filmically and musically, so without further adieu:
And the song, with free download: 
 

I wish I were doing more remixing right now. I'm feeling some nostalgia for it right now---weird because I think nostalgia was the reason most of us started it in the first place. So I'm in a weird meta-nostalgia place right now.
But I'm not a fast remixer. I'm slow and obsessive and it doesn't fit into my busy schedule these days.
I do hold arranging in high regard, as far as its creative merits go. I think it's a very strong relationship between the arranger and the listener. You're working with something that's usually already baked into the listener's memory, so you're starting with a strong common core of experience with the audience. You've already bonded with the listener over your love of the tune, but more importantly your creative decisions to alter the original material stand out strongly. The listener has greater vision into your creative process than if they were listening to your original material. Furthermore, the listener has an equally enhanced relationship to other listeners, given the shared histories listeners probably have with the tunes.
Of course, original material has different strengths. But I do think arranging has objectively unique strengths too.

Hell yeah I still remix B) B) B) B) B) B) B) B) B) B) )B )B )B )B )B )B)B)BB
 
 
 

I basically stopped remixing from 2004 to 2015 while I was more useful to people for the other stuff I do, but I'm back now and have been concentrating on proper orchestral arrangements for this concert (which I'm responsible for): https://www.bbc.co.uk/news/uk-england-leeds-45677787 - I hope some of you will come to this! (website is http://www.8-bit-symphony.com)
One thing we're not using in the concert is this cover of Ghouls and Ghosts... (the C64 version with Tim Follin's messing) which you can download from here if you want: https://www.dropbox.com/s/gvkz9y1zgaabcuu/07. Ghouls and Ghosts.mp3?dl=0 This is before it's been cleaned up and otherwise messed with by the orchestrator who makes sure the scores are as playable by humans as I think they are!
Done mostly with Orchestral Tools and recorded straight out of Sibelius Ultimate.
Er, cheers

I still work on remixes, but very sloooowly. Like others I do it for fun. I am 32 now and life has more to it. Wife, kid, house, full-time work, and a part-time PhD. Half way done with the PhD. I still run a small sound design company to make some extra spending money. Selling original synth patches and doing factory soundbanks for companies on occasion.
Musically I am super happy and feel fullfilled. I am glad I do not rely of music for a living. I do it for fun and make some extra money. I realized years ago I am much happier with a consistent paycheck at a low stress job. For me, relying on music for income killed my passion for it.
Success is a deeply personal and subjective thing. You just need to find out what it means for you.

Hey apologies everyone. We'll get back on track this Wednesday.

Deliciously atmospheric and foreboding.  Great job guys :3

GUESS WHAT Y'ALL?!

ALL tracks are now finished and turned in. Sure we got two remaining tracks to master, but the bigger point here is this: We have a FULL and COMPLETE 36 track, 3-disc album finished on our hands! Now is the time to finish up any last minute admin stuff, designing the website, working with OCR on trailer creation and setting a release date around Christmas of this year to hopefully still land within the 15th anniversary year of Skies of Arcadia: Legends release! To top it off, we are working with DJPretzel himself to see if we can get a limited run print of physical copies of this album! Every contributor will get about 2 copies (One for themselves and one to share), while the rest will be handed out as promos and prizes/gifts free at Magfest and other events that OCRemix attends. There won't be any other way to snag these puppies if you weren't contributing, so another reason to come out to these fantastic events and meet OCR staff in person in hopes that you might get one of these beauties. More words to follow on that part. I'm just jazzed that it's all done and now it is time to clean up and get this out there to you!

Now without further adieu, The final track list which also has been updated on the first post of this thread:
 
Disc 1 - Defend the Home Isle

01 - Main Theme (Title Screen) - Claimed by pu_freak - Genre: Orchestral/Piano - 'The Voyage Begins'
02 - Vyse's Theme - Claimed by SBeast - Genre: Metal - 'Legend in the Making'
03 - Blue Pirate's Theme/Ship (combo track) - Clamed by OA - Genre: Rock/Dance - 'Blue Skies, Pirate Surprise'
04 - Air Pirate Island - Claimed by Ganae - Genre: Orchestral - 'Rogue Sanctuary'
05 - Air Pirate Secret Base - Claimed by Silent Ice - Genre: Dubstep Reggae - 'Secret Bass'
06 - Dungeon Cave - Claimed by Orphanin - Genre: Orchestral - 'Into the Deep Dark'
07 - Battle 1/Battle 2 (combo track) - Claimed by fxsnowy - Genre: Dubstep - 'Arcadian Assault'
08 - Victory in Battle / Bombardment Victory (combo track) - Claimed by GlacialSpoon - Genre: Techno - 'Victory! Glory! Profit?'
09 - Sailor Town - Claimed by Bluelighter - Genre: Marching Band - 'A Sailor's Respite.'
10 - Fina's Theme - Claimed by Moseph - Piano w/Accompaniment - 'Light of the Silver Moon'
11 - Drachma's Theme - Claimed by Tsori-Deedubs - Genre: K-Indie Folk - 'Better Days'
12 - Little Jack - Claimed by Chadlee/Rotten Eggplant/John Stacy - Genre: Jazz - 'On Wings of Feathers'
Estimated Run time: 46 mins
Disc 2 - To the Horizon

01 - Kingdom of Nasrad - Claimed by shredd - Genre: Metal - 'Blasting the Sand Demon'
02 - Bombardment 1 / Bombardment 2 (combo track) - Claimed by Deedubs - Genre: Trance - 'From the Perilous Skies to Your Heart'
03 - Entique's Theme - Claimed by Deedubs - Genre: Waltz - 'Valse pour un Prince Rebelle'
04 - Kingdom of Ixa'taki - Claimed by Garpocalypse - Genre: Folk - 'Valhorteka'
05 - Theme of Reflection - Claimed by Yoshiblade - Genre: Trance/Dance - 'Inner Reflections'
06 - Remote Town - Claimed by RebeccaETripp - Genre: Celtic - 'Rusted Hopes'
07 - Dark Rift Theme - Claimed by ZykO - Genre: Creepy Ambient - 'The Darkness is Already Here'
08 - Yafutoma Dawn / Eastern Air Pirates (combo track) - Claimed by Jorito/Aster/Furilas/Lauren the Flute - Genre: Spaghetti Wester - 'Il buono, il brutto e il pirata dell'aria'
09 - Theme of Loneliness - Claimed by Sentient Pulse - Genre: Chill EDM - 'Shrouded Void'
10 - Valua City - Claimed by Kylok - Genre: Folk Rock - 'Undervalued'
11 - Gilder's Theme - Claimed by Jason Covenant - Genre: Experimental - 'Coding Angel'
12 - Delphinus - Claimed by Jorito + Others - Genre: Orchestal - 'To the Horizon'
Estimated Run time: 64 mins
Disc 3 - I Am Legend

01 - Military Facility Dungeon - Claimed by djpretzel - Genre: Funk Rock - 'The MFD'
02 - Ramirez's Theme - Claimed by Guifrog - Genre: Orchestral Dubstep - 'Brain Sound Tilt'
03 - Gigas Theme - Claimed by PrototypeRaptor - Genre: Electronic - 'Black Moon'
04 - Nervous Crisis 1/ Nervous Crisis 2 (combo track) - Claimed by GlacialSpoon - Genre: Dubstep - 'Nervousness is Just Bravery Disguised'
05 - Boss Battle - Claimed by Tuberz McGee - Genre: Progressive Metal - 'Life in a Vyse'
06 - Great Silver Temple - Claimed by Sam Dillard - Genre: Orchestral - 'Shining Silver'
07 - Armada/Armada Battle (combo track) - Claimed by Deedubs - Genre: Orchestal/Electronica - 'God's Ambition'
08 - Last Dungeon - Claimed by Supercookmile/Deedubs - Genre: Synthezied Loneliness - 'In Solitude, I Scream'
09 - Zealous - Claimed by Glejs - Genre: Electronica Trance - 'Unknown Menace'
10 - Last Battle - Claimed by Deedubs/Sixto Sounds - Genre: Orchestral Metal - 'Silver Nightmare'
11 - Legendary Sinking Continent - Claimed by Scott Buckley - Genre: Orchestral - 'The End of a Dream'
12 - Credits - Claimed by Juke - Genre: Orchestral - 'Hearth and Home'
Estimated Run time: 58 mins

Total Run time: 168 mins - or - 2 hours and 48 mins

OC ReMix presents Seiken Densetsu 3: Songs of Light and Darkness!

October 1, 2018
Contact: press@ocremix.org

FAIRFAX, VA... OverClocked ReMix today released its 67th free community arrangement album, Seiken Densetsu 3: Songs of Light and Darkness. Featuring 70 tracks from 56 artists as well as an interview with the game's legendary composer Hiroki Kikuta, Songs of Light and Darkness pays tribute to the celebrated Japan-exclusive 16-bit Square RPG Seiken Densetsu 3, and is directed by Finnish musician Rozovian along with assistant director Meteo Xavier. The album is available for free download at http://sd3.ocremix.org.

Released just after the game's 23rd anniversary and representing over 10 years of gradual development, Songs of Light and Darkness assembles a global lineup of musicians tackling Hiroki Kikuta's progressive SNES soundtrack in a variety of styles across 4 1/2 hours of interpretive arrangements. Songs of Light and Darkness was made by fans, for fans, and is not affiliated with or endorsed by Square Enix; all images, characters, and original compositions are copyright their respective owners.

"The album project began more than a decade ago. And, hey, we got the whole tracklist done. The slow progress eventually gave us the whole soundtrack wonderfully remixed by OC ReMix regulars and strangers alike," recalled album director Rozovian. "It's an eclectic mix of things, with the expected orchestral and metal epics sharing space with instrumentation and styles including waltz, rap, Mellotron, reggae, harpsichord, J-rock, and plenty of world music elements from all over the place incorporated into a large number of the remixes."

The album's immersive character and environment artwork -- focused on the game's light and dark classes -- was designed by New Jersey artist Min "Keiiii" Kwon, author and illustrator of the Korean webtoon-inspired fantasy comic Heart of Keol.

"Though only released in Japan, the Western gamers who came across [Seiken Densetsu 3], either on cartridge or by other means, found it one of the most beautiful games on the SNES. The music plays a big part in that," Rozovian observed. "I'm very happy to have my name among the artists here, and I'm sure you can find something you like on this behemoth of an album."

Songs of Light and Darkness is OC ReMix's second album honoring composer Hiroki Kikuta, following 2017's Resonance of the Pure Land, which arranged the soundtrack of Seiken Densetsu 3's more widely released 1993 prequel Secret of Mana.
About OverClocked ReMix
 
Founded in 1999, OverClocked ReMix is an organization dedicated to the appreciation and promotion of video game music as an art form. Its primary focus is ocremix.org, a website featuring thousands of free fan arrangements, information on game music and composers, resources for aspiring artists, and a thriving community of video game music fans. OC ReMix operates under the umbrella and sponsorship of Game Music Initiative, Inc, a 501c3 non-profit charitable organization (EIN: 81-4140676).
###
Preview it: http://youtu.be/cC4irIc-x6s Download it: http://sd3.ocremix.org Torrent: http://bt.ocremix.org/torrents/Seiken_Densetsu_3_-_Songs_of_Light_and_Darkness.torrent Comments/Reviews: http://ocremix.org/community/topic/47649/  
 

Unfortunately no, not yet. This is a good idea for a feature though!

Is there any way to make a list of games and have OCReMix simply play me random remixes from only those games? If not, can this feature be created?

These reasons may seem true for you personally, but I disagree strongly with both as generalizations, and they certainly aren't true for me.
They're also both kinda-sorta saying the same thing, re: ownership and that being the primary sticking point, creatively speaking.
My more-than-two-cents:
I think of my mixes as my own AND as collaborations with the original composer's ideas. I don't think it has to be one or the other. I actually tend to think of ALL artistic creation as a collaboration of sorts, even the most personal works, so it all lays on a spectrum... not a Boolean. So this is a false dichotomy, to me at least. I've heard hundreds of arrangements that brought original ideas to the table, relative to the source in question; a musical work's status as an arrangement carries SOME obligation to reuse ideas, motifs, etc., but within that framework artists can be quite creative, as we've seen over two decades, and outside of that framework, making something original, artists can still be quite derivative. So again, the premise seems weird to me, too much hinged on some notion of personal ownership being the end-all be-all & offering a stamp of great meaning & significance. My answer is that I still do it, primarily because there are still plenty of melodies out there that I want to hear a certain way, that I can bring something to, and make something of worth that I enjoy and that others might enjoy as well.

Yes, legally and commercially you don’t own it. Creatively, I will assume you did pour a lot of heart and soul into it, as ad.mixx describes above. To me, that matters most. Also, like I said earlier, I am not a pro (ie. don’t earn money with it), it’s just a hobby and it doesn’t make to have money and I don’t have to sell it.
I’ve found that the pro/commercial perspective changes the whole outlook on things severely. If it’s just a hobby, you can get away with just doing what you feel like (within legal limits of course), simply because enjoyment is the primary concern, rather than the financial/legal aspect where it’s more like a job and less about enjoyment and self fullfillment.

Just landed a new job, also very recently had a kid, so over the last 2 years i've been out of the picture pretty much entirely. That being said, over the last 2 or 3 months, I've started working on a Mario Odyssey Remix Album.
You can find a preview of the first track here:
https://drive.google.com/open?id=1DOGSue11MIU8zOX4nNVpEDMj9sdouTt3
It's the first thing I've written in at least a few years.

These reasons may seem true for you personally, but I disagree strongly with both as generalizations, and they certainly aren't true for me.
They're also both kinda-sorta saying the same thing, re: ownership and that being the primary sticking point, creatively speaking.
My more-than-two-cents:
I think of my mixes as my own AND as collaborations with the original composer's ideas. I don't think it has to be one or the other. I actually tend to think of ALL artistic creation as a collaboration of sorts, even the most personal works, so it all lays on a spectrum... not a Boolean. So this is a false dichotomy, to me at least. I've heard hundreds of arrangements that brought original ideas to the table, relative to the source in question; a musical work's status as an arrangement carries SOME obligation to reuse ideas, motifs, etc., but within that framework artists can be quite creative, as we've seen over two decades, and outside of that framework, making something original, artists can still be quite derivative. So again, the premise seems weird to me, too much hinged on some notion of personal ownership being the end-all be-all & offering a stamp of great meaning & significance. My answer is that I still do it, primarily because there are still plenty of melodies out there that I want to hear a certain way, that I can bring something to, and make something of worth that I enjoy and that others might enjoy as well.

These reasons may seem true for you personally, but I disagree strongly with both as generalizations, and they certainly aren't true for me.
They're also both kinda-sorta saying the same thing, re: ownership and that being the primary sticking point, creatively speaking.
My more-than-two-cents:
I think of my mixes as my own AND as collaborations with the original composer's ideas. I don't think it has to be one or the other. I actually tend to think of ALL artistic creation as a collaboration of sorts, even the most personal works, so it all lays on a spectrum... not a Boolean. So this is a false dichotomy, to me at least. I've heard hundreds of arrangements that brought original ideas to the table, relative to the source in question; a musical work's status as an arrangement carries SOME obligation to reuse ideas, motifs, etc., but within that framework artists can be quite creative, as we've seen over two decades, and outside of that framework, making something original, artists can still be quite derivative. So again, the premise seems weird to me, too much hinged on some notion of personal ownership being the end-all be-all & offering a stamp of great meaning & significance. My answer is that I still do it, primarily because there are still plenty of melodies out there that I want to hear a certain way, that I can bring something to, and make something of worth that I enjoy and that others might enjoy as well.

That's completely cool - no need to play devil's advocate, because I'm not prescribing my perspective for everyone else, just saying how I see things personally.
Ultimately, since I'm less motivated my marketing/commercialization, I'm doing things for myself. To me, even if it's an arrangement, that makes it more personal than if I was trying to make something marketable. I think there's a balance to be struck on all these concerns, and it can even vary from piece to piece. Having a one-size-fits-all creative ideology just makes you inflexible.
And yes, to me all art is a collaborative process, because even something shared with no one else and made exclusively for yourself is the product of a conversation your mind has had with your culture, your environment, etc. The collaborator need not be human, or even alive, but is always there to some extent. To me that's not just a "nice idea," it's a profound truth, and no amount of copyright hoo-hah or commercial consideration can change it, because it's beyond that, and it's what makes art great.
Again, my perspective.

What's the difference? You made it. Or you think that all your original music wasn't inspired by something/someone/anything, like.. weather for example?
Nice. Therion, Hypocrisy/PAIN and nomber of other great musicians started as a coverbands.
So at the end I say "Yes" to ReMixing. These days I can't find anything what I like in music scene. So many musicians! But no music.
I make music for my self. ReMix, original or simply cover just for having music to listen, to feel, to enjoy. Modern stuff sounds technicaly awesome, but mostly "soulless" in my taste. 
Life is tough, so I don't have much time to make billions of tracks. I have 8 remixes here at OCR and somewhere around 30 at my HDD, plus 75-80 original tracks. And that's not enough. I want more. I need more.

These reasons may seem true for you personally, but I disagree strongly with both as generalizations, and they certainly aren't true for me.
They're also both kinda-sorta saying the same thing, re: ownership and that being the primary sticking point, creatively speaking.
My more-than-two-cents:
I think of my mixes as my own AND as collaborations with the original composer's ideas. I don't think it has to be one or the other. I actually tend to think of ALL artistic creation as a collaboration of sorts, even the most personal works, so it all lays on a spectrum... not a Boolean. So this is a false dichotomy, to me at least. I've heard hundreds of arrangements that brought original ideas to the table, relative to the source in question; a musical work's status as an arrangement carries SOME obligation to reuse ideas, motifs, etc., but within that framework artists can be quite creative, as we've seen over two decades, and outside of that framework, making something original, artists can still be quite derivative. So again, the premise seems weird to me, too much hinged on some notion of personal ownership being the end-all be-all & offering a stamp of great meaning & significance. My answer is that I still do it, primarily because there are still plenty of melodies out there that I want to hear a certain way, that I can bring something to, and make something of worth that I enjoy and that others might enjoy as well.

These reasons may seem true for you personally, but I disagree strongly with both as generalizations, and they certainly aren't true for me.
They're also both kinda-sorta saying the same thing, re: ownership and that being the primary sticking point, creatively speaking.
My more-than-two-cents:
I think of my mixes as my own AND as collaborations with the original composer's ideas. I don't think it has to be one or the other. I actually tend to think of ALL artistic creation as a collaboration of sorts, even the most personal works, so it all lays on a spectrum... not a Boolean. So this is a false dichotomy, to me at least. I've heard hundreds of arrangements that brought original ideas to the table, relative to the source in question; a musical work's status as an arrangement carries SOME obligation to reuse ideas, motifs, etc., but within that framework artists can be quite creative, as we've seen over two decades, and outside of that framework, making something original, artists can still be quite derivative. So again, the premise seems weird to me, too much hinged on some notion of personal ownership being the end-all be-all & offering a stamp of great meaning & significance. My answer is that I still do it, primarily because there are still plenty of melodies out there that I want to hear a certain way, that I can bring something to, and make something of worth that I enjoy and that others might enjoy as well.