timaeus222   Members

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

my previous vote on this primarily focused around the mastering issues and that there wasn't enough unique perspective on each track (ie. the focus was more on the original's positives instead of the arrangement's positives). i don't remember how the piece sounded though, it was too long ago.
opens with filtered arps coming in - i like the wind sounds coming in here. the bass comes in with a martial feel around 0:12, and i think that the lead and countermelodic instrument have some nice movement on them. i can hear the schala arp behind it too which is a fun precursor. drums and other stuff that comes in at 0:36 is also neat. the hornet-adjacent lead add is a neat idea - having it have such a short sustain is a positive so it doesn't take up the entire soundscape. there's some subtle gating that starts 0:53 that i think is intentional and not limiter pumping - if so it should be a bit more obvious so that it's clear it's not unintentional. it's a cool effect.
there's a break right at the 1:00 minute mark that functions as a nice dovetail. schala theme comes in at 1:18. the beat here is nice and reminiscent of the ethnic percs that are throughout CT's soundtrack, and the constant varying of elements helps the slower tempo and schala's slower pace of the melody. there's another cool transition involving gating, and we're into some VO stuff.
2:30 is the return of the Terra b theme, this section felt a little lacking in direction. i didn't like all of the countermelodic elements (some are not quite voiced well enough to feel normal), and the turbo-pan thing going on was a little much on headphones. i also felt it was lacking energy coming out of the VO break, at least partially because the bass was often not on the root. 3:03 brings back schala (and the iconic ascending harp scale) - initially pretty low energy still, but quickly escalating via a variety of percussive and synth elements. i don't know if stacking the bass with the melody works in this section, but it's an interesting change.
after this is the outro, which wanders a bit through the schala arp until it hits the final notes, and then it's done.
this is a vast improvement over the last version. there's a ton of variety and added content here from when i last heard it, and the mix is a lot better too. i think it lacks a bit of energy in the back half and wanders a bit more, but i love the feel of the first half and the overall track does a great job navigating these two monumental originals. great work.
 
 
YES

I can tell that zircon's work has been a huge influence on you. Both in this and much of your previous works. You still always bring your own creative inspired takes into the arrangement. This is no exception.
My only gripe is that the bass is really fat, almost to the point of muddiness. Fortunately it only toed-the-line and didn't cross.
1:13 is an unexpected chord change here but moves away pretty quickly.
Switching up to a sparser beat after having the beat drop for a while was a great choice for 2:37 it's a great way to ease it back in.
Would have loved to have more piano (other then just a melody line, maybe left hand too?) for 2:51-3:32.
In the end this is an easy pass, groovin' along.
YES

Overall levels are up there, but I'll live. Nice lil' syncopated perc at :13, loved the energy there. timaeus wasn't kidding about holding to the structure of the main source to start. Beats at 1:22 were feeling bland, so I was waiting for a pivot/adjustment to live things up more, but never got it, so 1:22-2:17 didn't groove as much as it could have, IMO. Same from 2:37-3:32, these beats feel plain as well. Regardless, even timaeus at 80% strength, he's crushing it. The parts otherwise sounds gorgeous and vibrant, and there's always an overall brightness and charm to his work. Nice source tune choices, and the instrumentation's personalized well!
YES