Chimpazilla

I love the concept for this remix, the combination of instrumentation is excellent. The guitars and drums are well performed. The arrangement is good although somewhat repetitive. The fast strings starting at 1:38 sound very fake and unhuman, and at that point I can also hear how heavily the entire mix is compressed. The waveform looks quite compressed through most of the track as well. The quiet section from 3:32-3:40 feels out of place and the transition at 3:40 is abrupt (no transition really). What do you other Js think? edit 2/15/17: Revisiting this. Nothing dealbreaker here despite a few nitpicks, let's go with it. YES

Hi guys! Hope you're all doing good. Contact Information Chernabogue, Tuberz McGee, Furilas Alex Mourey, Callum Kennedy, Mac Hunter www.fflproduction.fr 17636 Submission Information Super Mario Galaxy B&M Nemesis King Koopa - https://www.youtube.com/watch?v=2OOYZcVIp8w Mahito Yokota & Koji Kondo / Nintendo Wii Comments: This remix was done for a Super Mario Galaxy 10th Anniversary project. My favorite track from the soundtrack is the one that plays during the battles with Bowser. The inspiration behind this remix is the S&M album by Metallica: a double live album where the band plays along with the San Fransisco Symphonic orchestra -- truly a great performance. It's metal and orchestra, and it's (almost) never wrong! Features my good pals Tuberz McGee on the guitars and Furilas on the bass -- thanks a ton, as always, guys! Hope it's all good -- let me know if it's not! Cheers,

"The loop is only about 4 bars so I had to embellish it a bit." Yes it is, and yes you did! Wow that original is short and repetitive. The remix by comparison is creative and lively, and at the same time chill, and all the while the source is completely recognizable. The breakdown is cool and unique, I would have liked some extra ear candy there, but it breaks up the arrangement nicely. There are some sections that repeat essentially wholesale, and I would have preferred to hear some different elements added the second time around, but I have to give credit for what you did with this short source so I'm overlooking the copy/pasta. The mixing is adequate if a bit underwhelming; although I feel like some highs are missing which could give the mix a much larger and more airy/alive feel. Regardless, I like it. YES

Remixer name: nelward Real name: Nick Elward Email address: Website: soundcloud.com/nelward User ID: 32483 Name of games arranged: Sim City (SNES), Legend of Zelda: Link’s Awakening Name of arrangement: OMG Mr. Write Name of individual songs arranged: “Dr. Wright Dialogue” (Sim City), “Weird Mr. Write” (Link’s Awakening) I always knew this as Mr. Write’s theme from Link’s Awakening and its a tune that always gets stuck in my head despite only being featured in that game briefly. The loop is only about 4 bars so I had to embellish it a bit. Hope you enjoy!

Good day, It’s funny how life can go… I still remember quite vividly how, around the time I was almost graduating high school, I was fantasizing about being this really big and important remixer for OC Remix. My head was, and still is, filled with songs I want to cover and arrangement ideas, and one of my most ambitious and favorite ideas has always been to make a big band cover of a video game tune and send it to you guys. However, it has always been one of those ideas that your really see as a dream, and I definitely never saw it happening in the timespan of then and 6 years. But, being a day dreamer, it was one of the many scenarios that would now and then pass through my head. Actually, in my weird ego boosting day dreams it wasn’t that much of a big deal at all. It’d be around my 7th posted remix, featuring an amateur big band from my hometown or something, and everyone would be flabbergasted by my achievement as I only graduated music school for a few years, and I actually recorded a real life big band. Back then I didn’t know much about big bands, so I didn’t really have a clear picture in my head, but I just assumed that it would just come with the time. And now, after some time I’m finally sending in my big band arrangement. When I heard we were going to write a big band piece for my main subject at the conservatory, I was actually immediately thinking about OCRemix, because I really really really really want to be a part of the scene. And when the actual specific writing task leant itself for some sonic 3 so well, I was getting really excited. This arrangement is by far the biggest thing I’ve ever written. Before I wrote Samba del Anjos I had never even written for small jazz ensembles, and the biggest amount of different instruments I had arranged for was 2. And then there was this big band project. So to say I’m proud of myself would be an understatement. Not only because I finally managed to write the thing I’ve always wanted to write, but especially because at the the moment of writing this particular sentence it hasn’t even been a year since I graduated from high school. And my big band piece wasn’t performed by an amateur big band in a small concert in my hometown, but at a big jazz festival in Maastricht, by the Jazz Orchestra of the Concertgebouw from Amsterdam, which is one of the best big bands in the whole world. So when I consider that since those days of naive daydreaming it hasn’t even been a year, I’m very excited about the things I’ve accomplished a year from now, and the things a year after that. Because last year, when I was still this innocent naive high school girl, I really didn’t know that I could have accomplished this so fast. But enough of my senseless rambling, and onto the music. At this particular recording the big band of my conservatory is playing, because I prefer their performance above the performance of the Jazz Orchestra for various reasons. If this piece gets past the panel it’d be great if at least their names could be quoted for DJPretzels write up, because they really deserve the credit. They’re amazing, and I’m forever grateful that they performed my music so well. Conservatorium Maastricht Big Band: Trumpets: Antoine Colin Marvin Frey Ie Rang Kang Sten Pelzer Trombones: Ludo Dodemont Jorge Felipe Nieto Carla Dobbie Dirk Bosman Saxes: Jon Sensmeier, alto + solo Miguel Angel Lous, alto Robin Rebetez, tenor Alexander Scott, tenor Bram Budna, bari Rhythm Section: Lukas Dahle, drums Vincent van Reen, guitar Phillipe Ramaekers, piano Wolf van Gemert, electric bass Conductor: Wolfgang Braun Considering the arrangement, I’ve got quite some things to say. It’s obviously a sambafied version of the original and it often stays quite close to the source, but it nevertheless was quite difficult to make it work for a jazz ensemble. First of all because there were some ‘wrong’ notes in the original, which don’t really stand out because of the synthesizers, but will become more obvious with live instruments. To give a few examples: At 00:58 and 01:06 there was a minor 6 clash between the lead and bass line, which I solved by reharmonizing the original chord progression form Dm7 - Gm7 - Cm7 - F7 to Bbmaj9/D - Ebmaj7/G - Cm7 - F7. One of the things I wasn’t able to solve however was the clash at 00:40 and all the other upbeats to the main motive between the D in the lead and the Eb7 chord. I think most people won’t notice it, but theoretically speaking it’s very very wrong. The reason I included the original source in the arrangement is because I anticipated that there wouldn’t be a lot of people in the audience who would know the original song. And including a small “window” to show them what inspired me to write the arrangement seemed like a nice idea. To quote the text I wrote the for the concerts: “This piece is a samba arrangement of the Angel Island zone theme form Sonic 3. It’s an effort to combine the nostalgia and 8 bit bleeps and bloops of the original video game with the sound and general jazziness of the big band world.” Including the original track in the arrangement also gave some problems, though. Mostly because I transposed the song down to B flat in order to make it fit the trumpet and alto sax range more. Which meant that I had to modulate to C somewhere before the “window” and get back to B flat directly after. Which I managed to pull off by including some trombone harmonies right over the original and the F7 as a pivot chord back to Bb. By the way, the original track was played by me by holding my Ipod against a microphone during the concerts. It’s kind of sad though, because it gave me a lot of cheering and applause while I only pressed one button at the right time, while Jon’s epic saxophone solo a little bit before that doesn’t get any applause at all, because the solo leads directly into the “window”. So, while listening, please don’t forget to appreciate that solo to the fullest. On the forums I’ve seen some discussions about a place to store all of the sheet music for OCR, but I don’t think anything official has been started yet, but I’ve got all the sheet music in a nice pdf or sibelius file. So if I need to send it somewhere, or if anyone in particular wants to look at it, use it for his/her own big band or use it for origami then it’s possible to send me a personal message. Here’s a small arrangement and source breakdown: -.- 00:00 - 00:10: Original samba intro. -.- 00:10 - 01:22: Source material, a lot of original countermelodies, comping and samba inspired source interpretations. -.- 01:23 - 02:17: Jon’s alto solo, original material, the samba piano intro and a few source inspired backing lines. -.- 02:18 - 02:47: Source material, some original trombone harmonies and a random guy imitating a cowboy. -.- 02:48 - 03:18: Differently interpreted source material -.- 03:19 - 03:43: Original material heavily derived from the source, a drum solo and some quotes from the two main motives. -.- 03:44 - 03:56: Clapping, clapping and some more clapping. Something else I feel I need to mention is the title of the piece. Because I wrote a samba I thought that it’d be cool to make the title in Brazilian. So, despite knowing a few Brazilian peeps, I used google translate to translate samba of the angels. Samba del Anjos sounded quite nice so I stayed with it. After that, I was talking with a Brazilian guitar player in the pub, and he told me it’s actually Samba dos Anjos. Naturally, that was after I printed all the sheets for the players and the program had been sent to the concerthalls, which meant that I couldn’t change it anymore. So Samba del Anjos is some kind of combination between Brazilian and Spanish… Sorry for that. And I think that that’s all I have to say. To be honest, I could continue rambling about the piece for hours, but I suppose that this covers all the necessary information and a few extra thingies for the bonus questions. Enjoy the piece, and I really hope that it gets past the judges. Oh, and I almost forgot. Here’s the rest of the submission details Your ReMixer name: Bowlerhat Your real name: Jorik Bergman Your email address: Name of game(s) arranged: Sonic the Hedgehog 3 Name of arrangement: Samba del Anjos Name of individual song(s) arranged: Angel Island Zone act 1 Lots of hugs, Jorik Bergman

I thought we laid off the birthday threads. Oh well, I suppose we can make an exception for this guy, but only this one time.

This sounds great! I hope you are feeling better!

What an awesome concept to do this source in funky disco! I happen to love funky disco! Unfortunately after the idea is established, it never develops any further, and the sounds, drumgroove and instrument writing quickly become dealbreakingly repetitive. The lead when it arrives is played very simply by a very generic sounding synth and it is too quiet in the mix. The arrangement itself repeats copy/pasta style halfway through. I feel that this mix needs to develop further in sounds, writing, and arrangement, but wow, great concept. NO

MaxterVGM David Lezcano https://www.youtube.com/channel/UChFLstZ_1fgJ5-vw6VNsKWA User Id : 33622 Submission Information Mega Man 2 Flash Man Funky Disco Remix Flash Man Stage Manami Matsumae, Takashi Tateishi. Nintendo Entertainment System The idea of this remix was very sudden, I really wanted to make a funky remix of a Mega Man song. It does not sound like I expected, but I still like the result :).

I like this but it feels a bit busy a lot of the time. The vocoding is great but I feel like it is overused, and in some spots it adds so much harmony that the melody gets lost for me. The gating feels overused as well, during the section where the lead is gated. Lots to like in the mix though. Not going to vote yet. edit 2/17/17: So, that's not vocoding? Well it does sound cool, but it makes 100% of the lyrics sound like backing elements and not a proper lead element. I sure would prefer one or two sections where the vocals are more centered and focused, with a proper lead vocal and with the harmony pushed back a little in the mix. I agree with MindWanderer about the repetitiveness of the lyrics and gating, and I agree with Deia about the section at 2:19 sounding too busy, too many lead elements going at the same time there, a call and response section would work better there. I think this is close, but it falls just short for me. NO (resubmit)

ReMixer & real name: Eino Keskitalo e-mail: ReMixer: Tuberz McGee e-mail: ReMixer: Jorito e-mail: Names of games arranged: Mega Man X, Mega Man X4 Name of Arrangement: Rolling Names of individual songs arranged: Sigma Fortress 1 (MMX), Frost Walrus Stage 1 & Frost Walrus Stage 2 (MMX4) Sources: MMX4: Frost Walrus 1st stage https://www.youtube.com/watch?v=X6eecLDUdUs MMX: Sigma Stage 1 https://www.youtube.com/watch?v=F4Q592iDoxE MMX4: Frost Walrus 2nd stage https://www.youtube.com/watch?v=LdATueX551s Jorito's notes: "When Darkesword announced the Sigma Fortress Remix Gauntlet, me and Eino got pretty enthusiastic about it after our good team experience in a previous compo. SFRG however required a team of 3 people, and we were short one musketeer. Fortunately Eino managed to bribe/convince Tuberz McGee to join our li’l group, we came up with the name Maverick Astley, and essentially that meant all the 9 tracks we submitted had a reference to Rick Astley’s classic “Never gonna give you up”. “Rolling" is no exception in that respect, just listen closely to the lyrics. Rolling was Eino’s contribution to round 1, and since we wanted to kick off the compo big time, all 3 of us contributed. Eino did the basic arrangement, played guitar and bass, we discovered that Callum is actually a pretty good singer so we got him to do vocals as well as his usual guitar business, and I ended up with most of the keys and synth stuff, as well as adding sfx and production duties. Overall Eino did a great job with the concept and glueing the 2 source tracks together in an interesting arrangement and Callum’s vox and guitar solos really helped the track come alive. From a production standpoint this was a very interesting track, since half of it lives in Renoise and another half in Logic Pro and on their own these halves sound… well half, and mixing these parts together was an interesting technical challenge. Worth it, tho. I love working with these guys, very inspirational! We were a great team during the compo and if it’s up to me you haven’t heard the last of Maverick Astley yet. A++, recommend, would team up again." Eino's notes: "Well, I can only concur what Jorrith's saying about the teamwork here and throughout the compo. I was especially crazy to join the gauntlet in probably the busiest time of my life so far, and thankfully I was able to lean on my teammates to make it out alive..! I'm not sure I can really remember much of the process. How did I find the time to record all those guitars and basses anyway? Plus placeholder vocals, which Callum thankfully replaced. I mean, I got a nice skeleton of a full track done by myself, which I'd been happy with as a compo submission, but Jorito really put the flesh on the bones and Callum breathed life into the monster here. Post-compo we fixed a few things - there was some harmonic conflict (at least I felt so) in the writing and sometimes the mix was too busy. I re-recorded a bit to unhairify the transition from the middle prog part to the final part, plus spent a ridiculous amount time fixing the bass timing - guess it was done in a hurry or something? It was all about ironing out the little warts and kinks that happen when three people work on a somewhat complex harmony/arrangement in the space of one week. I think this is nice and polished by now and I find I can simply enjoy listening to it. Thanks to timaeus222 for directing the SFRG2015 album and mastering this track as well!" Callum's notes: "Eino and Jorito are some of the best peeps I've had the liberty of making music with. Even when it's just vocals and guitars I feel so fulfilled in their arrangements. This song is no exception. I had great fun recording close inversions of 11th chords. If there's one thing I've learned from working with these two... it's that whatever we are up against, we will never desert the fight. <3" Source breakdown: 0:00-0:02 swoosh! 0:02-0:15 bass and that little arp from FW stage 1 0:10-0:24; downwards melody from FW1 0:24-0:35 0:15-0:29 chords from 0:10-0:24 are added 0:29-0:42 (verse) bass from FW with vocal melody taking after Sigma Stage 1 melody from 0:25-0:50, adjusted to chord changes of FW. 0:42-0:56 bass from Sigma Stage 1 (simplified and adjusted to FW chord changes) 0:56-1:10 (chorus) 0:49-1:01 from Sigma Stage 1, with the descending melody from FW. 1:10-1:24 continues into the Sigma Stage 1 intro/post-chorus part (1:02-1:13) 1:24-2:19 verse and chorus repeats 2:20-3:00 proggy take on 0:27-1:08 of FW stage 2. 3:00-3:14 Sigma Stage 1 intro 0:00-0:11 3:14-> end uses the same material as the verse.

This is cool and weird and stylistically lo-fi. I don't know this source, and listening to the source it is wild and frenetic, and so is the remix. I can hear the attention to detail that went into it, wow. I think I'm left with an overwhelming feeling of dissonance after hearing the entire track though, it is sonically nebulous both in writing and sound choices. There is very little break from that drum groove. It's mixed really loudly as well (-5.2db RMS). I planned on liking this because Mazedude... but I'm not too sure about this one. edit 12/21/16: Alright, let's do this. YES

Here we go! No rush, I know there are already a few Mazedude mixes in the queue, and I appreciate the FFV track making the home page recently. -- Remix Title: Retrohead Five Game: Retro City Rampage (http://ocremix.org/game/749/retro-city-rampage-xb360) Original composer: Jake Kaufman Original song: Retro City Rampage Title Song Description: So, the "Ignition" remix already on the site (http://ocremix.org/remix/OCR02418) already addresses the original remix competition from 2012, which incidentally I was also a part of... and yeah, I didn't win. In fact, my track was a little too old-school trackery to really get the attention of the contestants and judges... but darn it, years later, I still like my version, and want to share it. And, if I may, I paid ridiculous attention to detail in matching all of the notes and solos/leads from the original, so, maybe that'll count for something. So, while being a Jake Kaufman remix, this is also another homage to a famous tracker by the handle "Basehead." He was a major influence to me as I was learning the art form, and was one of the members of a legendary group known as "Five Musicians" in the tracking scene. (Piece it together and you'll see why the remix is titled as such.) My arrangement deliberately uses a lot of Basehead's own samples and tracking nuances. Fun fact, I met Basehead live in person, once. And, it was at a live performance in Los Angeles of Jake Kaufman himself, doing live chiptunes (before he moved there, I might add). And... oddly enough, it was also the first date I had with my wife Julia. I was introduced to Basehead, and while at any other time it would have been a huge honor and a valid cause to drop everything and spend the evening with the guy, my attention that night was on my future bride. So, cordially, I said something along the lines of "it's a pleasure to meet you Basehead, now if you'll excuse me, I need to get back to my date." And the time of writing this description, Julia and I have been together for 10 years now. And, we still remember that night fondly. So, long story short, this silly remix holds within all its various references quite a story, and subtle mental ties that signify a lot in my personal life. I don't know if that will make the music more enjoyable, but regardless, enjoy the story. -- All the best, Mazedude

I love the jazz concept of this, but right off the bat the piano is so mechanical. Once the bass and beat drops, the shuffley beat is so simple, plain, and repetitive. The bass is only playing straight quarter notes, and the backing piano is playing whole notes. The simplicity of these three core elements drags this track down to a slow plod, which is a shame because there is some very cool improv going on over the top of it. I suggest looking into getting more interesting drums, bassline and backing piano, then let's hear this again. NO

ReMixer name: NachoOfCheese Real name: Yosef Mansi Submission Information: Name of game arranged: The Legend of Zelda Name of arrangement: A Hero's Walk Name of individual songs arranged: Legend of Zelda main theme, Gerudo Valley, Temple, and one of the solos is a reference to "Goodbye Moonmen" I arranged this song using FL Studio 12. Jazz is my favorite genre of music to arrange because improvisation is my element. Thank you for the consideration

Those will not be completed, at least not for this album, the tracks would need to be claimed by someone else.

Nah, really this is long overdue!

Time to get real with this. The project has been dead in the water for some time now, and timaeus and I have discussed it and neither of us has the time nor the interest to see it through. If anyone cares to take this project over and be its new director, please let us know. If no one steps forward in the next month, the project will be cancelled and all approved tracks can be scheduled to post on OCR in the normal cycle.

Track sounds really strong in the live performances, the synth-only sections feel much weaker by comparison. I'm not sure.

ReMixer name - Mak Eightmanreal name- Max V. Kravchenkouserid: 32137 Submission Information: Title - "To The End" Name of game arranged - Splatterhouse 3 System: GENESIS Name of individual song arranged - 3rd floor Link to the original soundtrack - https://www.youtube.com/watch?v=p5zmP5nxCMk&index=22&list=PL57F7AA23DB19933F Hello! I found this track at my HD. I remember, i posted it at wip forums and had mod reiew. Then it was totally forgoten. Anyway. Made it back in 2012, somewhere between Hypnotica and Skull-Head. No changes to remix added. My favorite theme from this game. Some good memories from childhood.. Blasting ugly/dead things all over the floor.. What a times) Loved that game! P.S. I think I told this before, but... I still HATE that new remake of this game. Thank you! SFME!

Opening/outro piano is so mechanical. Shaker, hat and especially clap are too loud/dry. Beat is so simple and plain. The melody repeats so many times. This could be a really cool dance track but the melody needs some more interpretation, or a section in between without melody but maybe some other element to break things up. Lead timbres are generic and lack movement or modulation. I can't hear the bass. This track has potential but it needs a mixing overhaul and some more melodic interpretation. NO

Contact Information ReMixer name: Dasgust Real name: Roope Lindström Website: http://www.youtube.com/Dasgust Userid: 25275 Submission Information Name of game arranged: Professor Layton and the Diabolical Box Name of arrangement: Your Last Hope Name of individual song(s) arranged: Iris Professor Layton and the Diabolical Box (レイトン教授と悪魔の箱) Composer: Tomohito Nishiura System: Nintendo DS Developer: Level-5 Genre(s): Puzzle, Adventure Original release date: November 29, 2007 (Japan)

New version up. Nemo samples removed, and vocals mixed a bit better. Let's get this one approved!

I was expecting a medley but this is a pretty straightforward remix of the main theme. The string sequencing sounds good, and well enough humanized. I feel like the soundscape is pretty thin most of the time, consisting of only two or maybe three layers of staccato strings at any one time, with only occasional bass padding; there are areas I feel could use more padding or some other element. My biggest issue with this track is the many copy pastas, the same patterns repeat again and again. This is almost funny to me as I was expecting a medley which should have very little repetition! I suggest adding pad layers or other instruments, maybe some sort of solo over some part, or something else to break up the repetitive patterns. NO (resubmit)

Hello! I have completed a fully orchestral medley of Friday the 13th for NES. It includes pieces from the Intro, Cabin theme, and outdoor theme. I would love for it to be an official OCRemix release. Contact Information Your ReMixer name: Timothy William Your real name: Timothy William Your email address: Your website: https://www.youtube.com/channel/UCeXNJauYjiN18mO6JiG-RpA Your userid (number, not name) on our forums, found by viewing your forum profile: 33521 e.g. djpretzel (http://ocremix.org/community/user/2-djpretzel/) has the userid of "2" Submission Information Name of game(s) arranged: Friday the 13th (NES) Name of arrangement: "Friday the 13th Medley" (Can be changed if needed) Name of individual song(s) arranged Main Theme, Cabin Theme, Athletic (outdoor) Theme Additional information about game including composer, system, etc. (if it has not yet been added to the site) I composed this over a two-week period. I remember this game fondly, and decided to play-through it quickly one day. Upon playing, I decided that I should probably do a remix! Link to the original soundtrack (if it is not one of the sound archives already available on the site): https://www.youtube.com/watch?v=O6anw1EUpN0 Your own comments about the mix, for example the inspiration behind it, how it was made, etc. I love the haunting theme, and thought I could make it even more chilling by putting an orchestra to work. It ended up sounding exactly how I wanted it to. I used multiple custom VST instruments. I can go into a lot of detail if needed I'm considering making this into a series (depending on how well-received it is), so it would be great to have this as an official release and to get some feedback from the OCRemix community. I hope that you enjoy, and I also hope that this meets all criteria! Please let me know if you have any questions! -Timothy William