timaeus222   Members

some nice glassy pads to start, and the melodic line comes in right away. the scattered nature of that lead there is very fitting for an opening element. the beat comes in pretty soon after, at 0:28. bass at 0:32 is a little weird. this is a very dynamic approach, and quickly expands into mixed meter with the Taupe Hollow section. there's some really wild stuff here which is such a shift from the initial premise which felt more poppy to start. i love the progression of styles.
1:27's a transition and build into a new feel with a very dynamic lead element at 1:39. this might be my favorite build and texture out of any of your music, truong - it's so intense and vibrant. i like the little countermelodic shouts in the background. there's some settling action at 2:07. the high lead here has some (obviously intentional) weird stuff that it's doing like at 2:11 and 2:22, but i like it and think it fits into the feel. there's a half-time section at 2:30. there's a ton of long-delay elements here and some chromaticism in the chord work, but it doesn't ever fall on itself (although it does sound pretty dynamic).
2:58's back to a more driving feel, with the forest melody chopped up on top for a bit. this isn't quite the same as the opening section at 0:28, but it's very similar. same with the following mixed meter section, break section, and shout section right after (build has an extra measure) - so that's actually a lot of repeated material, over 90s, before we do finally get some different material around the 4:30ish range. we get a nice final chord at 4:50, and there's some outro as keyboard cat plays us off.
this is a fun ride through a variety of themes. i never got the feel that there was multiple melodic sources here - it's very well-connected and a great whole. there's more repetition than i cared for, but overall i found the track to be well-handled with good synth choice, a solid master, and a fun arrangement. nice work.
 
 
YES

If you like randomly good soundtracks in Pokémon games, I recommend Pokémon Quest!
You already took the time to make a source breakdown so I'll try to not repeat much from the description. We begin with some nice airy pads and a pretty synth lead. Percussion enters quickly with a fun groove that's kinda chill and upbeat at the same time. Drumkit sounds great here, very punchy and clear, although the hats are a bit washed out. We move to Pokémon Sleep with more interesting percussion over some nice melodies and at 1:14 we get a fun rhytmic section, I think you used less dissonant chords than the source here, a good move IMO. At 1:39 we get a change to double time that sounds really cool! Being a bit nitpicky I think this section could have extra oomph, the hats are super washed and I'm missing a sharp contrast. Something like background arpeggios or a dynamic pad/chord stabs could be a fun idea as well. After a cool chord progression we move into Aether Paradise for a bit of a break. Melody at 2:11 is a bit weird. At 2:30 things get a tad more intense, there seems to be 2 different leads competing for attention and I'm finding it hard to focus on a clear melody. Around 2:58 we slowly transition back into Eterna Forest, the chord progression at the beginning here suggests something darker coming, which caught me a bit off guard when the chill forest melody returned. There's a repeat of the Pokémon Sleep material in what almost seems like a copy/paste to me. Missed opportunity to add extra variation or maybe even a keyboard solo. At 4:30 there's variations over the double time melody from 1:39. Finally, track ends with some pretty piano stuff.
On production this is excellent, almost no notes really. Percussion is punchy, samples are all high quality and everything sounds clear. We know what to expect from you after all this time!
On arrangement this is mostly excellent as well, with my only gripe being the "copy pasted" repetition starting at 3:23. It'd have been fun to have some twists on the returning material, otherwise I feel the track could've easily lasted 90 seconds less without much loss.
Overall, awesome job! Excellent production and a fun arrangement despite my only gripe. There's no doubt this deserves to be on the front page.
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Ah, I remember this first Zebra2 lead patch, it is called "avien" and it is still gorgeous!  What an interesting arrangement here, I agree that the three sources go together super seamlessly. 
I really like this varied and unique arrangement and soundscape.  The chord progressions strike me as just a bit awkward here and there but it all mostly works and sounds luscious.  I love all the changing time signatures, I'm a sucker for varied time sigs in a piece, it helps to keep things very groovy and interesting all the way through.
Production and mastering are on point, let's go!
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It's in a good way :-) Redg is also known as Brent Wollman on OC ReMix and he does very eclectic music. 

Thank you! ♡ :D Yeah, it's a bit nutty and chaotic, (as the Judge eval hinted at,) but I did my best to put a unique spin on such an iconic track. ^_^ Hopefully, in a positive way! Very much was a learning experience, and very much could have done better mixing / curtailed some overwhelming parts of the piece, but I do hope the ride was enjoyable and thought-provoking.
Also, curious as to who or what 'Redg' is. x'D

Quirky for sure, never thought I'd hear Dragon Roost Island this way. Reminds me of Redg.  
   

Oh man, this was a blast to write for sure! I think I spent the leisurely year to write this, actually. I definitely had to take my time to get the treble mixing just right amongst all the aux percussion, the "electrical" bass, and electric bass all potentially competing! 

Congratulations! 
I missed an epochal event( 
I joined OCR sometime in 2010. It was an unexpected discovery!
In fact, I got access to the Internet at the end of 2009 (I live in a village).
The first thing I started looking for on the Internet was music.. I came across this place through tindeck when I was looking for something like covers for Contra Hard Corps. And Google gave me an artist like "Death by spoon" (AMT).
My search led me here. What I found here blew my mind. I didn't even imagine that such a place was possible. Ironically, at that time I didn't find any CHC remixes on OCR, but I did find Sixto sounds, goat, Snappleman, lvl 99 and many others (sorry if I didn't mention you).
I've learned a lot here. I'm thankful to this place and people who helped me in advice and direction(Rozovian is the best BOSS ever!)
Of course, I had some complaints. Something I still don't understand here) But I liked this place and I hope to come back to this stream..
Thank YOU OCR PEOPLE!
 

I made a list of 25 ReMixes I really like. Certainly not a favorites list (but many of them are favorites. Maybe it's a partial favorites list.). There's something special about each of them to me. Can't put it into words for many of them. They just resonate, you know? 
137: Super Mario 64 – Liquid Mario (MkVaff) 469: Final Fantasy VII - Seven Degrees of Judgment (Rosencrantz & guildensternN) 511: Command & Conquer: Red Alert - Mud Mix (Scott Peeples) 814: Final Fantasy IX - dubnofantasyaloneman (DJ Pretzel) 821: Perfect Dark – Air Force One is Down! (Danny Baronowsky) 1008: Final Fantasy VII - Of Transformants and Brevity (zykO) 1403: Pac-Man – Glass Cage (Israfel) 1527: Sonic the Hedgehog 3 – Walk on Water (housethegrate) 1642: Super Mario RPG – Leafcutter (Radiowar) 1657: Shadow of the Colossus – Wanderer on the Offensive (Live Edit) (B33J, Cerrax, Juan Medrano, nonsensicalexis) 1759: Donkey Kong Country - Lost in Jungle (Johan Krafft) 1770: Super Metroid - Samus Bubblebath (Shnabubula) 1984: Secret of Mana - Step Off My Flower Bed (Nase) 2000: Donkey Kong Country 2 – Re-Skewed (David Wise, Grant Kirkhope, Robin Beanland) 2982: Metroid – Cancer (Redg) 3068: Super Smash Bros. Melee – S-Tier (Flexstyle, OceansAndrew) 3119: Dark Souls II – Like a Dream (RoeTaKa) 3203: Donkey Kong Country 2 - Ocean Lanterns (Emunator) 3393: Skies of Arcadia – Undervalued (Kylok, Bree) 3831: The Legend of Zelda: The Wind Waker - Pajarito Paiso (Audio Mocha) 3851: Sonic CD - Dream Current (Rebecca E. Tripp) 4118: Power Drift – Velocity: Fueled by Sake (Katajun, Manny, Sagnewshreds, Trohnics) 4429: Mario Paint - I have Seen the yellow paint (jmr) 4585: Pokemon Red Version – Look at All the Ships! (ZackParrish, Pearl Pixel, Jeff Ball) ????: The Legend of Zelda: Link's Awakening - Animal Counterpoint (prophetik music; not on OCR mix technically but it's on an album so I count it)

HAPPY BIRTHDAY TO US!
OC ReMix = 25 YEARS OLD!
4,500 ReMixes later, video game music is STILL an art form!
We've got a celebratory Zeal mix by JSABlixer from the upcoming anniversary album TimeShift, and we'll be doing lots more over the course of the next year to celebrate the creativity and impact of this powerful community!
Thank you to everyone -- past, present, and future -- who have made OverClocked ReMix what it is.
Please share some positive memories on how you discovered OCR, artists and tracks you love (original VGM OR ReMixes), let's go! :-D

When I have time, hopefully tomorrow, I'll send an A-B example. It's startling. Fiddling with ADSR settings..and in the case of Harmless in FL Studio, the pluck control..is irritating compared to using the free KHS trance gate.

opens with some heavily filtered arpeggiated elements and pads, and some really ringy vocals. the big hit at 0:31 reminds me of another remixer's penchant for huge transitional synths. there's some trancey keys doing the arpeggio and eventual melody line, although they're not particularly idiomatic. i found the wide spacey synth with the long delay on the attack to be a little too fast for how slow it was, but i liked the vibe for sure. there's a big transitional element into 1:39, and there's some really wild sound design here that's fun. i appreciate that it never quite settles down to a normal - it's constantly changing and evolving. 2:10's a hard drop in style, and the keys here sound like they're releasing early which is interesting. the lack of sustain compared to earlier feels is unsettling.
another big build into 2:44, and there's a particularly filthy bassline synth that i really like here. there's also a lot of rumble which i'm not as big a fan of. the lead here is outrageously mean and over-the-top extreme, and the transitions are all really janky, so this is very intense. 3:30's long falling action functions as a great palate-cleanser to that intensity, and we hear the docks come back much clearer this time around. the sfx in here on the vocal clips is enough that i couldn't tell at all what was going on in them. i don't know if that was intentional or not. the piano in here is a little too high and piercing for me, and combined with the overtones from the vocal clips, this was kind of uncomfortable to listen.
we finally reach the third section, and it's a much more straightforward, heavy feel. most of this didn't seem to be clearly able to be mapped to the original in any way, but there was some clear intentionality at 5:11, and later when the keys come in at 5:41. the intensity of the drums especially is nuts through this whole section. i found myself liking the setting more than everything that the lead was playing - especially initially, that low bend sounded nowhere near the key that was being played.
5:41's a significant falling action, and this is clearly the end of the road here. there's some sfx to end it, and we're done.
what a ride! this is so broad from start to finish, showing a ton of versatility and stylistic influences. i certainly don't think it's perfect, but what a broad spectrum of approaches and concepts. i certainly don't know of another DDD concept that comes at the original from so many different directions. it's easy to nitpick something so broad, so i'll just say that i really enjoyed it, there's more than enough source for it to count, and the perspective here is intense. nice work.
 
 
YES

Oh wow, this is definitely super indulgent.  I was already impressed enough with the idea of putting DDD in a minor key, and bringing in a nod to "Piranha Plant's Lullaby" had me sold - but three movements of the source, in three completely different emotional packages, contextualising the development of a relationship whether romantic or even platonic?  Now, THAT hits deep.  From the lively treatment of the source in the initial build and two-step section, to the more intimate-sounding EDM second section, to the outright broken nature of the heavy metal section with eventual blast beats and quadruple kick pedal (!!), there's so much contextually that has something that a listener can easily interpret this ride of an emotional bond in their own way.
With that ambition also comes its way of being placed together.  Obviously the tones are all well put together, whether it be synths, guitars, percussion or various other effects.  Brad can say what he wants about the transitions being jank, or disjointed, but that's part of the anticipating of seeing where the direction would go next.  The only thing that stuck out as concerning for me was the un-synergized tonality between the lead guitar shredding and the more minimalist chords, which makes sense concerning the different tuning put in play.  It's no irk for me, as at the end of the day, timings and performances are tight enough to let the section run through in its intended (chaotic) format.
It's a very easy vote - super ambitious, obvious use of the source BGM albeit twisted in more ways than one, all wrapped up in a powerful package.  Let's get this on board.

YES

Loved this theme as a kid, so always glad to hear someone transform it. The sound design's pretty cool, and I appreciate giving this a not-dour-yet-darker edge; very exploratory, and I didn't expect the... let's say indulgent... rock turn 4 minutes in. :-)
Dayum, son, where’d you musically incubate? Arriving here all fully formed and shit… :-P
YES

Fantastic remix, but something's up with the MP3 download - at 0:50 it skips ahead a few seconds.

I second mmpneosync, all three mirrors have this strange skip.

Fixes
The MP3s for two recent remixes had some unintented skipping due to an error in the upload process. Those files have been updated and redistributed across our mirrors. Please update your local collections accordingly.
Pokémon Trading Card Game Pocket "At the Drop of a Coin Flip" Silent Hill 4: The Room "Dreamy Ring Around the Forest" News
Final Fantasy V: The Fabled Warriors is spinning up again with auditions open for Volume 3: Fire. Head to the audition event for details. Speaking of Projects, we've setup a new Project Comms forum that offers a direct channel to OCR's Project Staff (lead by @Kit Vivid) for all of your coordination needs. The threads you make are private, so only you and staff will see it. If you're currently running any album projects, head over there and setup a dedicated thread for each one. This will help Kit and the rest of the staff keep up with questions and communications about files, consent forms, album art, etc. Coming off rebuilding the Submissions system as a forum module and building the 8Tracks feature, I'm experimenting more with creating some tools for album project directors to play with in conjunction with the forum's Clubs feature. If you're an album project director and you're interested, head over to the OCR Discord and ask me about it. We'll see if we can get you set up. That's all for now. Stay tuned for more fun stuff on the horizon!
-- DarkeSword

This is a really solid arrangement. You've mixed well, and you've managed to put your own spin on this while retaining that very "pokemon" feel to it. It's almost like I could see it as a bonus track on the actual soundtrack; there's a quality to the lightness, brightness, and joy that comes through this mix. Drums are exactly where they need to be, I love the snappy snare that doesn't get in the way. The soundscape is wonderfully full without being too overwhelming, and the track tells me a great story from beginning to end, and I loved the lead-up to the ending. I could maybe use something a little bigger on that VERY last note; I was left feeling a little underwhelmed considering the mood that it set up for me beforehand, but I am picking the shit out of a nit on that one. 
YES

So I too have been playing this too much and it was immediately apparent how things have been used in the track. Props to tackling something so new and fresh.
Playing with time was a great approach to take and it really works well. I actually never once felt off-kilter or jarred by any time changes and it flows so smoothly.
The opening section (0:00-0:36) is probably the most modified when it comes to source recognition but it still really feels like the title screen theme. Keeping the time changes and similar motion helps in that regard.
The bass and electric guitar do a great job of filling space and making it so warm and cozy, and the synth choices also feel appropriately selected. Not much more I can say, but this is great and what I've come to expect from Truong lately. Smooth, warm, and semi-jazzy vibes. Dig it!
YES

as always, thank you for a clear source breakdown.
opening starts with the title theme with a variety of transitional sweeps layered in. we start to get a beat at 0:36 and it picks up from there. this entire opening section feels pretty dull with the instrument choices - there's not much sparkle in any of them for them all being EP-like, and the kick is kind of blah - but we get some pop at 0:54 when the melody comes in. i love the time signature goofiness - the 7/8 section is absolutely the right choice there.
1:27 tones it back down again. there's a surprising amount of sustains that kind of just sit there (really expected to hear some blurbs to keep it moving through that), and the overall texture is still pretty dull outside of the sweeps. i felt like that past the 2 minute mark until about 2:10 when we started getting more percussive elements coming in and more brighter synths, and then again was in a happy place at 2:25 with the melodic material back in. this trucks through the melody of both tracks, and then it's done. the ending is a little abrupt but fits the style.
this track does a fantastic job of saying "wait just a bit longer for the part you want", and then it's there and it's great, and then the track's done and i'm putting it on again. this is a great compositional technique - always repeat one less time rather than one extra time! - and when the track pops, it really pops. i think you do a great job taking a track that's kind of already in your style and making it unique and yours without copying what made it good originally. nice work.
 
 
YES

estou realmente apaixonado por esse remix, a entrada final em 2:51 literalmente me faz ir e voltar varias vezes, até satisfazer completamente meus ouvidos. 

Oh man, this is EXACTLY what I want when I see "Saturn Valley." Quirky, slightly dark, unpredictable, and just plain loads of fun to listen to!

Definitely quirky! I think the highlights for me were the copious uses of funny fx like at 1:40 with the phone and the... flexitone?? This ride was a little trippy, a little bit of a throwback, and a little weird. Maybe that was the point.

Much improved Mel! This has a lot more of your personality cutting through in all the details and texture, I have no reservations now. Your arrangement always took two sources that were a natural fit and gave them space to bounce off of each other, but now the sound design and detail work makes it feel all the more special and cared for.
YES

The drum beat is still repetitive, but it is mixed better so the trap hats aren't so loud and prominent.  The drum beat itself sounds groovier with the extra kick hits added.  The balancing of instruments is much better here, and the sound design is improved quite a bit, this soundscape sounds full and luscious. I love the vocal clips in the breakdown section, nice addition, it adds emotion to the piece (I'm a sucker for well-used vocal clips).  There is a wash of distortion over the soundscape during a good portion of this mix that I'm not a fan of, but it adds movement to the atmosphere of the piece, and it is not a dealbreaker for me (I predict Larry will complain about this!).  The mixing still isn't perfect, but this is a significant improvement and I'm happy to pass it now.
YES