Chimpazilla

I'm not sure how I feel about this yet. The remix appears to be in 7/8, and occasionally in 15/16, or am I crazy? I like odd time signatures. The source is well represented, as I would expect from a M&P entry. The track sounds somewhat lo-fi, but I see that this was a stylistic choice. I'm going to let this one percolate for awhile.

ReMixer & real name: Eino Keskitalo e-mail: forum id: 20708 Name of game arranged: Xenon (Atari ST) Name of Arrangement: Hajonta Name of song arranged: Level 1 (?) MP3: FLAC: Source: https://www.youtube.com/watch?v=BoFM66LW-SU This is a slightly tweaked version of my entry to the Meat and Potatoes compo round 37. Let's see if I can pass the panel with two days worth of work. It was cool to see Binster getting a ReMix of the tune posted just around the compo. The compo source was the Atari ST version. It's the same composition as the Amiga version, but has a different feel to it. I guess the power chord guitar sample in the Amiga version makes it some difference compositionally too. I have actually played the Atari ST version a bit, too! Ingredients: live bass, live guitar, a couple of breaks from the Renoise sample library, a short sample from the very beginning of the source tune (used as the instrument for the riff at 1:26-1:51) and a simple synth sound for background arp & melody (also from the Renoise library). I worked the bass/guitar riffs into arbitrary time signatures, which is something I kind of seem to fall into as a way of personalizing the source. I worked the oddly-syncopated hits into the rhythm guitar, not exactly like it's in the source I suppose, but painful enough to play on time, ha. The economy of the source is interesting. You can tell it's put together from blocks of musical elements/riffs, especially the melody/arp. Then the tune changes key a couple of times, with the blocks staying the same, but shuffled around a bit, which is a nice touch. I just recently read Game Sound by Suzanne Collins, where she explains this sort of thing was often done on 8/16 bit platforms to conserve the limited space/memory resources. Pretty cool! I followed the key changes at 0:42 and 1:08 but without repeating the whole structure. This isn't super polished, but I like the overall raw aesthetic that came together. It reminds me of a cassette recording of a garage band jamming. Used to play in bands quite a bit you see, takes me back, all nostalgic, so it's in a good place for me. Hope you enjoy too! cheers!

This is actually really cool. I like that the remix is a little slower than that frenetic source! I can't even imagine trying to dance to that. The remix actually sounds pretty dry. The shaker could use some velocity variation as well as a bit of reverb. The snare sounds too heavy for the soundscape (I love the rimshot though). I like the vocal bits, they could use some delay. I like the breakdown with the piano and plucked instrument. My biggest issue with this track is it's overall volume, it's smashed to smithereens. In the densest parts of the track, such as 3:05-3:40 I hear some pretty heavy distortion. You definitely need to revisit the mastering and/or the mixing/balancing to get this distortion eliminated. I'd love to hear each element in this mix occupying it's own space in the soundscape. Other than those issues, this track works for me and I like it. NO (please clean up mix/master and resubmit)

ReMixer Name: Tonalysis Real Name: Jeff Morrow Email: User ID: 31683 Name of game(s): Beatmania, Dance Dance Revolution Name of arrangement: Epic Steps Name of original song: Sync Composer: Outphase (Taku "TaQ" Sakakibara and Takayuki "dj Taka" Ishikawa) Link to original: https://www.youtube.com/watch?v=_-UxUJ6P8nU Link to remix: https://soundcloud.com/tonalysis/outphase-sync-tonalysis-mix Comments: Frequently, fans discover artists through OC Remix. In my case, I discovered OC Remix by first discovering zircon through Pandora. After learning the basics of how to use FL Studio, and taking a few lessons from zircon himself, I decided to try my hand at remixing. I'm a long-time DDR fan, so I decided to pick my favorite DDR tune as my first submission. My goal was to take the track and make it even more epic. Thanks for considering my remix.

I think the video I just linked is the actual original source, as far as I can tell. I have to say I find this source horrible! But I digress. There is no way this mix can pass our panel as it currently stands, but I've paneled it anyway because I think you can use the feedback. Once the mix gets going, I hear what you're aiming for. I think Sir_Nuts in particular will have some good advice, this sounds like his style. The soundscape is lush and full. There's too much reverb though and it washes everything out. In contrast, some of the chippy sounds are painfully dry. The intro is dealbreakingly sparse. The rest of the mix is pretty repetitive, both in writing and in sounds. Although, you've added a breakdown and a few extra timbres. The wubs near the end are surprising and they aren't mixed into the track well at all, they are jarring. The drums are fairly repetitive throughout the track. The end cuts off abruptly. I paneled this because I have the sense that with some direction and advice, you can get good at doing this style of music. I suggest joining our workshop forums if you haven't already, put this track in there and you'll get further advice. NO

J. Yarmosh - Evgeniy Yarmosh - - https://soundcloud.com/j_yarmosh - http://ocremix.org/forums/member.php?u=53448 (53448) Sub info: - SUPAPLEX - Supaplex2016 - unknown - http://mirsoft.info/gmb/game_info.php?id_ele=MTg2MTQ= (full game info) - https://www.youtube.com/watch?v=J13y92m6zB0 (original music)

Oh man, this is a tough call. I've listened to both versions now, and the wide-panned version #2 sounds SO MUCH BETTER to my ears... except for the LEADS being on the right, and the whole mix is overcompressed. Version #1 does indeed have crowding issues caused by everything being center panned, and on this version I'd need to ask for a ton of mixing fixes. In version #2 however, everything is so nice and wide, making version #1 sound like the mix was recorded in mono by comparison. If I could ask for perfection here, I'd ask for version #3 to sound exactly like the wide-panned version #2, with the following changes: 1. Center leads, but give them a bit of stereo separation so they sound full. Not so much separation that it sounds super-panned, but full while still being center-panned (being careful to check the entire mix in mono for phase cancellation). 2. Keep every other instrument nice and wide, no panning changes from version #2. Keep drums where they are, too. 3. Bring up the volume of the kick, I can barely hear that. 4. Lower the overall compression. The current version #2 is clearly overcompressed, as the rhythm chugs, strings, and especially the snare sound distorted to smithereens. Just lower that final limiter. I'm going to be picky on this one, since the artist seems willing to make changes for the better. With the above changes, this track will go in my favorites folder. NO (borderline, please fix up and resubmit)

There are aspects of the mixing that don't work well. The mix feels empty a good part of the time. Reverbs don't match so instruments don't sound cohesive. The soundscape fills out quite a bit when the big timpani comes in, but the lows and mid-lows of that timpani feel out of control and this gives a muddy wash over everything else. The timpani writing is quite repetitive. The writing of the lead gets noodley sometimes, and the backing chords are indeed static and repetitive. The drum groove plods along at the same pace throughout the track and the drums are mixed in a very distant way. The transition at 1:15 is abrupt and unsignaled; this is a lost opportunity to prepare the listener for the next section. Instrument balances are odd throughout the track. The guitar volume jumps up drastically at 1:50, although the section from 1:50-2:25 is the section that I feel is mixed/balanced the best in the entire track, except the drums could be louder. The backing chords are bothering me a lot since I don't feel like they fit the lead writing as well as they could, it almost feels like two different songs are playing instead of one cohesive arrangement (almost like a mashup). The drums sound so static and looplike. I love the concept, but I feel like these issues need to be addressed before this can be posted. NO (resubmit)

Thank you, it's too funny to delete

I think Deia is struggling with autocorrect. But I suppose she's right that the counterproductive was a good start, and I also like the contentedly at 1:11. I'm not sure I agree about the Abby of the faster movements, though. Interesting idea to open with the theme coming in on a radio, then transitioning into the mix! I like it. Once the mix gets started though, it sounds quite repetitive. I feel like you are trying to vary the writing from the source, but the writing ends up sounding noodley and random even while sounding repetitive and too conservative to the source tune. If you changed up the drum groove at some point that would help a lot. You could add/replace new instruments or sounds as you go along too, switch up the lead or backing elements, throw in drum fills or little solos, to add interest to the arrangement. The mixing needs to be cleaned up too. I can't hear that you've done any sidechaining with your kick to the bass and/or pads, so the track lacks groove as a result, and that also causes the soundscape to be overcompressed on each kick hit (since everything hits full force each time). I suggest eqing each instrument so there isn't so much overlapping of frequencies, and also cut lows out of your reverbs. If you haven't already, I suggest you visit our workshop forums for further advice! NO (resubmit)

I agree with Deia that the middle section feels awkward, the writing there is rambling and aimless, and it makes an odd transition. I also agree with her that the orchestration is gorgeous. The sounds are perfect together and things are well balanced. You set up a lovely soundscape right away. The humanization of the strings is not great, though. The string attacks are all the same. I would prefer a bit better humanization on the strings than this, since this is a 100% orchestral track. It sticks out on the cello lead and on every string part that follows, and is particularly noticeable during faster passages when each short note has the same too-long attack. My other issue is that the instrumentation is so similar to the original, other than the piano and guitar in the original, the vibe with the strings is basically the same. The opening cello is the same. The writing is also quite conservative, with the exception of that unique original middle section. The jury is out for me. Whichever way I vote is going to be borderline, due to humanization issues primarily, but also due to that middle section's odd writing. edit: Thanks Mike for helping me clarify what was in my mind. I have to vote NO, but I really hope the artist will revisit the issues and resubmit this because it is gorgeous. NO (resubmit please, borderline)

This started out so similar to the source that I had to check if it was a midi rip. It sure isn't! Those wubs, what a cool idea! I have to say though that this mix overall is too sparse. If you filled out the soundscape with pads and countermelodies and sequences and drum fills and stuff, this would rock, but I'm only hearing one instrument and drums sometimes, and it really needs to be more full. The drum patterns and all the writing is quite simple. The dubstep parts could be so excellent, but you've got to make those wubs really shine. I recommend putting a little bit of reverb on them, on a short echo preset. Also, you need to have some bass playing at the same time or give the wubs some lows! I paneled this because I really love the approach here. It needs a lot of work but I'm hoping you will put in the effort and send this back. Throw this into our wip forum and see what other advice you get! NO (resubmit)

Remixer Name: SadJack Real Name: Jack Lebersfeld Email Adress(es): and Forums Name: SadJack Game Arranged: Shovel Knight Arrangement Name: Poison Flowers Original Song: Flowers of Antimony Consoles: Wii U, 3DS, PC, PS4, PS Vita, XBox One Composer: Jake "Virt" Kaufman

remixer: Brandon Strader Hi! Well this feels weird... I haven't submitted a remix in what feels like 6 months or more.. Not even sure if I remember how to do this (remix OR submit one!) Game: Kirby's Adventure (NES) Source: Grape Garden https://www.youtube.com/watch?v=B92TnpK1_dE Title: Silver and Gold Link: I made this last night (8/27/15) between 7pm-9pm and 12am-3am to finish it off. If anyone's really interested to know, I would say 7pm to 7:30pm was loading instruments, 7:30pm to 9pm was writing the structure.. then midnight to 2am was recording the live instruments, and the last hour or so was finishing the mix/master. It came together really quick because of the source being really good and memorable, been listening to it for years. I was originally just gonna have it be a meaty bass and lead electric guitar, but things changed on the fly around midnight. I made this as a tribute for Satoru Iwata, and submitted it to DoD's Iwata month. The goal was for it to be a lot more minimalistic than it ended up being, mostly due to the acoustic guitars adding too many details. It has been a.... challenging..... remixing year for me, but it felt like old times and was really refreshing to do this just like I used to.

ReMixer name: P.M. Crockett (I have a previous ReMix posted as Peter M. Crockett; if it's easier administratively to use that existing name, then go ahead. P.M. Crockett is just what I use professionally now.) Real name: Peter M. Crockett Email: User ID: 15994 (Moseph) Game: Double Dragon 2 (NES) Arrangement name: Heliportation Song arranged: At the Heliport (Mission 2) -- https://www.youtube.com/watch?v=Dw0DsmMvu1k I'm going with the naming used in Larry's YouTube link; Wikipedia lists different track names for the game, so I'm not sure what's up with that. Comments: I managed to use both of my kazoo sample libraries on this. I consider that a victory. Also tried mixing on headphones with frequency spectrum correction software (Sonarworks Reference 3) and monitor virtualization (Waves Nx), so if the mix is bad, it's, uh ... not my fault? Got some more comments here since I was kind of in a rush with the original submission email. You know how it goes; I was trying to hit a deadline after spending most of the day dealing with software problems. Without going into too much detail, I was on a temporary replacement audio interface that wasn't working out too well and wrangling a VST-dense project that was bringing my CPU to its knees, and this resulted in both driver problems and show-stopping Kontakt crashes. On two separate occasions, I thought my project files were too corrupted to continue, and the final drum mix isn't exactly ideal on account of my not being able to unfreeze that instance of Kontakt without Sonar hanging indefinitely. It's enough to make you want to just record your kazoos to tape rather than use sample libraries and computers. I chose this source because I liked the bassline, and this is probably evident in my treatment of the bassline in the arrangement. I'd already committed to using the aforementioned kazoo libraries (why do I even have kazoo libraries?!) before choosing the source, but the slap bass element is really what the arrangement was built around. The original idea was to spastically cut back and forth between the slap bass and other bass instruments -- like what happens at 0:49 with the piano -- but as the arrangement progressed, that got reined in, not so much because it wasn't a good idea as because by the time I actually turned my attention to it, the arrangement was in a state where it no longer seemed necessary. The upright bass, which ended up having its own distinct material, was a holdover from this early phase of planning. (And there was going to be a tuba, too.) The entire arrangement can't decide whether it wants to be swung or straight. I initially recorded the bass straight, but when adding in leads and such, I found that I was often unconsciously swinging the rhythm slightly. The A sections mostly live in that weird in-between space between swung and straight, but the two statements of the B melody (1:14 and 1:35) are deliberately swung and straight, respectively, with the hi-hat emphasizing the distinction. The glitch effects in the bass and lead instruments are a direct result of my having recently played Remember Me. Olivier Deriviere's score makes extensive use of this sort of glitching in an orchestral hybrid context, and I find it extremely effective both thematically (the game's about glitching people's cybernetic implants) and artistically. In the case of this particular mix, deliberately glitching my audio was somewhat cathartic, as I had to unintentionally listen to that repeating buffer error sound far too often as my computer went to pieces during mixing. As mentioned in my original submission email, I mixed on headphones with Sonarworks Reference 3 (to correct the headphones' natural frequency imbalance) and Waves Nx (to simulate the sound/positioning of actual monitors). This is the first full mix I've attempted with these plugins, and I've been pretty impressed with them. At very least, I've been able to quickly achieve a mix on headphones that I'm still happy with two days later -- even when played back on cheap computer speakers -- and I think that may be a first for me.

Needs a real title if this passes. Your ReMixer name - DaLift Your real name - Daniel Ramos da Silva Your email address - Your website - dont have one Your userid (number, not name) on our forums, found by viewing your forum profile - I Really do not found my userid in settings or profile Tittle: Game arranged: Megaman 3 arrangement: Uplifting Trance / Orchestral Trance individual song arranged: Tittle screen Theme Due structure of trance and progression, it got longer than 7 minutes length (8:13 to be exact) Here is link of MP3 hosted in zippyshare: Megaman 3 - Tittle Theme (DaLift Uplifting Trance Remix)

WOW. I think you win the award for most improved in production in the shortest amount of time. But your piano playing has ALWAYS been phenomenal, even in your first remix ever.

Nice arrangement. Luscious soundscape. The reverb and delay are heavy indeed. My suggestion is to tame the delays, and reduce the tails as Wes said. For the reverb, there are lots of things you could try. You could just lower the mix of reverb overall, eq the lows out of the reverb, sidechain your kick to the reverb (I fully recommend this!), sidechain a silent kick to the reverb (when no kick is playing but you still want that effect), or automate the reverb mix knob during the different portions of the song. You could do any or all of these things! You might find some of these techniques interesting too. As for the kick, it's really thick and meaty, but for this soundscape I think you could lower the click and bring up the low thump, as Wes suggested, because it sounds a little out of place like it is now. The piano isn't bothering me as much as the other two Js but I hear what they are saying about it, it almost gets lost in this soundscape. You could experiment with a more expressive sample if you want to, or eq this one to make it sound a bit more full. Please fix this up and send it back! NO (borderline, please resubmit)

^That^ is excellent Will! Does a remix of a mashup count? Here is a remix that bLiNd and I did of an existing mashup of the Mario theme with Nine Inch Nails' 'Closer' Here is the original mashup that we made the remix from (bLiNd and I did not make this mashup, just the remix):

Impressive piano playing, but I'm hearing a ton of noises in this recording, some I think are keyboard clicks or something coming from inside the piano, and the rest of the noise is straight-up distortion on the rendering where you're hitting the limiter ceiling hard. Looking at the waveform, those loud segments are completely squared off. I wonder if you can master this better to eliminate both the noise and the distortion. This isn't the best sounding piano I've ever heard, but I think some improved mastering can improve the sound. Right now it sounds like both the highs and lows are cut off. On a cursory listen I think there is enough source and the two themes are well integrated, but I am not familiar with these sources so I'd want to listen to them more thoroughly, but at the moment the noises and distortion are blowing the deal for me. NO (resubmit)

Contact Information: Forum name: GamesDoneLegit Artist: DrJonnSokol Jonn Sokol & Chris Hatala chris@GDLent.com http://www.jonathansokol.com/ (UserID: Cannot find -- is this requirement outdated?) Submission Information: Game Title: Lufia & the Fortress of Doom OC Remix: Lufia: The Island Appears Name of Song(s): Last Battle, The Battle of the Island in the Void Dropbox Link: Artist & Co-Producer DrJonnSokol: Along with film scores, videogame scores are among my first engaging musical experiences. I arranged and played music from various games throughout my youth, and now, with over a decade of education and experience, I'm thrilled to approach the music I love from a new angle. Co-Producer Chris Hatala: To celebrate the Cleveland Gaming Expo Oct. 10-11 and our panel discussion on Ludomusicology, pianist/composer Dr. Jonn Sokol and I co-produced a free studio piano album for Expo goers featuring his talents and passion through game music we all love. As an OC Remix fan since 2000, I absolutely cherish each OC Lufia arrangement, and he ablidged with this opus, creating in my opinion one of the highlights of the album. It's been a dream to come true to bring something of our own to the world of game-music remixing! A huge thanks to our sound engineer, Bryan Wolbert, and Kopperhead Studio! Chris Hatala Event Director / Final Boss, Games Done Legit entertainment Director-at-Large, International Special Events Society, Cleveland chapter p:216.505.0435 (216.5050.GDL) | e:| w:GDLent.com | a:Northeast Ohio

edit: I need to redo this entire vote, Cubase messed the track up for me, my stretch setting for wavs was hosed up. Ok, gonna listen to this correctly this time. Yeah it's pretty energetic! Guitar performances (leads and rhythm) are great. Arrangement is conservative yet personalized. The mix does sound like it could have a bit more sparkle in the highs, and the kick could have some more impact. I'm not in love with the pad timbre (choir?), it has a slow attack making it sound pumpy (as if it were sidechained) during faster passages. From 2:23-2:33 the mix sounds distorted, is there some phaser effect here, along with a roaring lion? Perhaps this is overcompression, as Mike mentioned the busier passages have an odd amplitude envelope (which I'm hearing as pumping). I'm pretty borderline here. edit 4/6/16: I won't hold this up. I think it's close to a pass with a bit of cleanup. NO (resubmit)

Hi dear Judges! I hope you're all doing well. Following djp's announcement about BA3's evaluation, I decided to submit our Machinedramon collab. Pieter/pu_freak just told me the track didn't need any changes for the album, so let's see if it can make it to the front page Contact Information Chernabogue, AngelCityOutlaw, Furilas Alexandre MOUREY, Chris SCHMIDT, Mac HUNTER fflproduction.fr Submission Information Digimon World (PS1) The Metal Emperor Wild Battle! Machinedramon Koji Yamada, Yuko Ishii I'll try to go a little deeper than for my album notes: I came up with an arrangement for this track, but it was too quirky for the album. So Chris (AngelCityOutlaw) decided to go full power-metal, I quote, "rainbows and riding on unicorns made of fire whilst wielding Excalibur on an epic quest to slay the metal dragon". Yes, that's about it. He then wrote a new arrangement I really like, a la Rhapsody of Fire/Gamma Ray. He recorded all the guitars and synths, Furilas did the bass, and I mixed all of those. Big thanks to Chris and Mac for lending me their killer skills, and to Pieter (pu_freak), Eino, and Tim (timaeus222) for the feedback! Remixing a track from the Digimon games, which are a big part of my childhood, was a dream, and I'm glad I could do it for this album. Chris' notes: Alex wanted to do a metal remix of Machinedramon's theme. However, the original concept wasn't metal enough (for my tastes anyway) and so using magic wands made by Jackson and Ibanez, I re-arranged it into an attempt at European power metal of proportions so epic that playing it has the power to summon Kai Hansen. Alex took the stems and then, via alchemy, dark magic, and a touch of Furilas, he made it all come together in his cauldron of metal. I had oodles of fun arranging notes in different places so that they sound cool together and making noises on a guitar so that Chernabogue's dream of digi-speed metal would come true. \m/ Mac's notes: It was a pleasure to form the butt, or perhaps left shin, of this 100-odd ton killing machine. Hope it's all good -- have a nice day!

Your ReMixer name: Slimy Email: Website: https://soundcloud.com/slimy-4 User ID: 51975 Submission Information: Game: Super Castlevania IV (SNES) Name of Arrangement: Dracula's Secretaries Name of Songs Arranged: Room of Close Associate (less prominently:) Beginning Links to Originals: Room of Close Associates: https://www.youtube.com/watch?v=JYm6N5aM2wI Beginning: https://www.youtube.com/watch?v=WYunQCkW8HQ Comments: Of all the songs I could have remixed for Vampire Variations III, the climax of "Room of Close Associates" caught my attention. When I heard it, I knew, this one was the one. "This needs BIG! LOUD! TROMBONES!" Oh, right, that's only 15 seconds out of the entire source. So, what do I do with the part of the song that equates to musical gibberish? Eh, I'll throw some woodwinds at it, they can handle it. Everyone else can play whatever. Chord progression? What? Whoops, I didn't mean to put the drum of impending doom in there. Actually, he can stay. He sounds like he knows what he's doing.

This is fascinating to watch and so well performed, but ultimately it's a one-after-another medley, and really quite long. Not really a fit for OCR. Impressive though! NO