timaeus222   Members

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

this is an exciting matchup of composer and remixer.
starts off with some smooth bass and lead work. actual drums come in at 0:27. there's some really delicate plucks going on here that i really liked. beat drops at 0:55 and there's a slow build back up with some funky chords to mix it up in there. doubletime beat at 1:22 feels really good under the more disparate melodic elements in this section. the track trucks through more Aurora Magnitude with some really fun synth work to a second break at 2:17.
this break serves as a nice shout chorus to transition to the second interlude of Thicket Prism, and also to transition back down from doubletime to the original tempo. 3:27 was really nice. 3:33 was the last big hit, and we get some more plectral bells over the AM chords before it's done.
looking at the overall mixing, as expected there's a lot of detail work that's highlighted throughout. i did notice that there's a lot of body in the low mid range, like around 100hz, for most of the track. this doesn't make it feel cluttered but it is certainly more dense than i'd have expected from some other tracks by timaeus.
this is an obvious pass to me. the two tracks mix together very well and the realization here is excellent. it's an enjoyable listen that doesn't do the mind-bending chord stuff that truong often does but still delivers on a high-quality product. excellent work.
 
 
YES

Pretty similar tonally to the original, if a bit more mellow, but the components are laid out in a totally different way. I can see Timaeus's struggle in not finding anything he wanted to change. But it's still a fun take and clearly transformative enough. An easy pass, indeed.
YES

Happy 25th :D
- I discovered OCR while I was making my Pokemon Crystal walkthrough on YouTube, and I was looking for background music each week. The first song I picked was "Beamsabre Beat ZERO v2" from Shariq. This was like 2009.
- I've been a fan of these artists or become a fan lately (if I didn't list you I just forgot xD):
zircon - intriguing sound design, surprising chord progressions, and crisp production Joshua Morse - well-established "distinctive sound", exciting arrangements, funky vibe WillRock - well-established "distinctive sound", shredding solos, nostalgic vibe Chimpazilla - well-established "distinctive sound", open-minded, friendly personality Big Giant Circles - clean production, wholesome personality, well-established "distinctive sound" Juan Medrano - guitar master, nostalgic vibe, clean production Prince uf Darkness - guitar shredder, clean production, magnum opus orchestrator J Damashii - crazy arrangements, creative mind, wacky personality bLiNd - clean production, wholesome personality, EDM master Sam Dillard - incredible orchestrations, expansive knowledge of dynamics, creative mind - Here are some of my favorite tracks of all time:
The Unholy Wars (Juan Medrano + Dhsu)
Become Death (J Damashii + me)
Blast Beatdown (zircon + tefnek)
Bleets of Lightning (WillRock)
The God Machine (Vig)
Tropical Paradise - ambient (Big Giant Circles)
Beyond the Glass (Sam Dillard)
Club King Bowser (bLiNd)
There's a Zomboss on my Roof (Chimpazilla + me)
Prancing Dad (Prince uf Darkness)
Fossil Fuels (Joshua Morse)
 

Some cool chord progressions going on here! I also like the vocals. Good amount of cheesy.

How has no one said anything? :( This is actually such a wide arrangement that isn't trapped in a single genre, I love it.

Happy 25th :D
- I discovered OCR while I was making my Pokemon Crystal walkthrough on YouTube, and I was looking for background music each week. The first song I picked was "Beamsabre Beat ZERO v2" from Shariq. This was like 2009.
- I've been a fan of these artists or become a fan lately (if I didn't list you I just forgot xD):
zircon - intriguing sound design, surprising chord progressions, and crisp production Joshua Morse - well-established "distinctive sound", exciting arrangements, funky vibe WillRock - well-established "distinctive sound", shredding solos, nostalgic vibe Chimpazilla - well-established "distinctive sound", open-minded, friendly personality Big Giant Circles - clean production, wholesome personality, well-established "distinctive sound" Juan Medrano - guitar master, nostalgic vibe, clean production Prince uf Darkness - guitar shredder, clean production, magnum opus orchestrator J Damashii - crazy arrangements, creative mind, wacky personality bLiNd - clean production, wholesome personality, EDM master Sam Dillard - incredible orchestrations, expansive knowledge of dynamics, creative mind - Here are some of my favorite tracks of all time:
The Unholy Wars (Juan Medrano + Dhsu)
Become Death (J Damashii + me)
Blast Beatdown (zircon + tefnek)
Bleets of Lightning (WillRock)
The God Machine (Vig)
Tropical Paradise - ambient (Big Giant Circles)
Beyond the Glass (Sam Dillard)
Club King Bowser (bLiNd)
There's a Zomboss on my Roof (Chimpazilla + me)
Prancing Dad (Prince uf Darkness)
Fossil Fuels (Joshua Morse)
 

Oooohhh, this is so cool! It's immediately recognizable what source you're covering, but that makes all the changes to the chord progression and harmonies feel all the more engaging. I don't know enough to break this down from a theory standpoint, but it all goes down smooth all the same. Everything finally breaks wide open at 1:49, and I agree that it couldn't have come at a more perfect time. The first 1:45 is just enough to lull you into a sense of security before hitting the listener with some much more powerful beats and more of a rhythmically-charged focus. It's all paced wonderfully, even if it feels unconventional.
Love this so much, great stuff!
YES

OK, opening sounded a lil' funkier than I was expecting, like you're trying to smoove the ladies. Alright, the main melody kicks in at :43 and the laid-back groove behind it is nice. The sound design isn't the same, to be clear, yet I can't help but say the overall sound design and dynamics feel reminiscent of Quinn Fox's stuff, which is a wonderful comparison, IMO. (Check out the cadence and tone of the beats of his old VGMix, "Slick Uniforms".)
By 1:45, I was expecting a ramp up of some sort and we got it at 1:49 with some beats. 2:18-2:20 was an odd moment that IMO should have been tweaked to sound major key throughout, but I'll live, it's a there-and-gone transition (and the notes aren't wrong, just odd). It felt like there was a potential build for a brighter or more forceful concluding section starting at 2:54 or 3:16 instead of what we got, which'll sound like I minded the direction timaeus took here. Nothing at all wrong with setting a mood here, and I was still getting Quinn Fox-esque vibes from this when it was all said and done. Cool approach! :-)
YES

opens with some great EPs and organ. there's a really organic feel to this due to the timing being pretty loose initially. i'd recognize that chapman anywhere - one of my favorite sounds in Trillian! - and some fun bell elements. we get a beat at 0:43 and the melodic material to the fore. this is a really deep, low representation of the chorus material which is fun. there's a point at 0:58 where the melody is on an A and the bassline is on a Db, which is a little weird-sounding but is supported by the chord structure.
there's a break right at 1:05 to recap the opening a bit. the sweeps through here are really nice. this builds up through some fun flute-adjacent noodles to the melody again at 1:49. i like the shift at 2:11 to a more upbeat feel as well, as we'd kind of done the other stuff for a while now. there's again some funky chord structures at 2:19 - i'm not going to analyze them since they sound roughly correct to my ear, but they're funny as a transitional element! 
we get through some original material as a transitional element. there's a half-time groove here that i didn't see coming but really like, and it builds into 3:15 where we get some taikos or toms alongside the main melodic snippet. this floats through a bit more of that snippet and then it's done.
what a fun track! there's all sorts of interesting ear candy going on in here as i listen. you do a great job taking a fun and straightforward original and exploring some really varied elements.
 
 
YES

Absolutely incredible! The detail work on this is much appreciated, and there are a lot of cool harmonic liberties taken to make the well-known motifs fresh. I especially liked the bass drone around the 2:50 - 3:36 mark.

The Judges Panel has been talking about ways to work through the queue of submitted remixes at a faster pace, and after a lot of discussion and weighing the pros and cons, we've come to a decision that's probably one of the biggest adjustments to our process in a long time:
Submissions no longer require four (4) YES votes to pass. A decision is reached as soon as the difference in votes is three (3).
To clarify the key change here: when a submission receives three (3) YES votes and there are zero (0) NO votes, the submission is accepted, because the difference in votes is three (3).
If a submission continues to go back and forth without reaching +3 in either direction, the panel will continue to vote until all active judges have voted and the majority will determine the decision.
This update to our decision making process will immediately apply to any submissions on the panel at the time of this announcement going live, and for all decisions moving forward. We won't be going back to previous rejections to find decisions that started with three (3) uncontested YES votes but eventually got rejected; in those cases, what's done is done.
We hope that artists will find this new criteria a little bit easier to understand. Overall, we've been impressed with the quality of work being sent in these past months, and this should make it easier for us to get the slam dunk tracks through the process faster.
Thanks to all the artists who continue to participate in our curation process. Hope to hear your work soon.
- DarkeSword