Chimpazilla

Contact Info: Remixer: Nate Tronerud Full Name: Nathanael Tronerud Website: http://nate.tronerud.com - https://soundcloud.com/natetronerudmusic UserID: n/a Submission Info: Game: Dragon Quest IV Arrangement: Chapter 2: March of the Tomboy Princess Original Song: Alena's Theme (link leads to YouTube) Composer: Koichi Sugiyama System: NES/Famicom Comments: Having adapted Ragnar's theme from Chapter 1, I've moved on to Chapter 2 in a similar fashion. As before, I attempted to orchestrate the original tune whilst avoiding Sugiyama's own choices from the symphonic suite. I decided to take a narrative approach to the arrangement, and so the track follows loosely the ups and downs of the story during this chapter. Beginning lightly and distantly in the celesta, and at a slower tempo than the original, Alena escapes the confines of her home and makes her way out into a dangerous world. The music grows dynamically with the whole orchestra as she attempts to prove herself. Finally, the movement finishes with a short and quiet variation on her theme in the upper woodwinds that ends with an airy, open harmony, that signals the end of the chapter and a continuation of the story. As before, I used a MacBook Pro with 8GB of RAM. The specific sample libraries utilized in this arrangement were CineBrass Pro, East West Quantum Leap, and LA Scoring Strings in Logic Pro 9. Thank you!

This track is loooooong. I'm not ready to vote on this yet or to look at source use, so just a few notes for now. I like the complex syncopation in the intro. At 0:55 the arp is too loud and has too much lows. The lead is buried from 0:55-1:36 and 1:54-2:11, the lead is too quiet compared to the arp. I like the time signature changes in this track! But the transition at 2:20 is pretty abrupt. The bass beginning at 2:20 is too loud. Is that a Link vocal clip at 2:46??? What's he doing in here? The section from 2:20-3:41 is repetitive. At 3:41, the transition is again rather abrupt. At 4:16, that lead is very plain, lacking any kind of modulation, but it's a short section. 4:43 is yet another abrupt transition. I love the little sine accent starting at 5:00. That section from 5:00 to 5:39 is very cool! Starting at 5:39, that piano is super mechanical, every note the same velocity and strictly quantized. At 6:10, a new beat drops that is much too loud, and this section seems to build in volume and quickly sounds overcompressed. I'm looking at a waveform sausage like I've never seen before starting at 6:10. There are literally zero dynamics in the track from 6:10-7:13 and from 7:28-8:25. The entire section from 6:10-8:25 is much too busy with too many elements competing. The ending of the track is very abrupt considering it comes after such a long and intense section. This track is pretty bold for someone who is new to using a DAW, so props for that! But I think there are several issues to be addressed. I haven't looked at source use yet, I will do that later. *hoping someone beats me to it though* I'm voting NO anyway due to production issues. NO (resubmit)

Haha! I did an entire track where I used those Omnisphere voices as leads. I thought it was funny; no one else did. Oh well. I like them here as backing, I think they are panned too severely though. I really like that bassline! The samples you've used here sound very good. I'm not fooled that those are real trumpets, and I recognize that Omnisphere steel guitar, but you've used the samples well. I have two issues with this track. One issue is that the drum beat sounds quite repetitive, although you have added some snare rolls and transitions, the primary beat really never changes. My other issue is that the source melody never changes. You said you did this for MnP, so I understand that you stick quite close to the source writing. And you've certainly varied the instrumentation, so it does sound fresh throughout. I'm actually going to wait for some other opinions on this before voting. edit 7/13/15: Listening again, my above-mentioned crits still stand. But there is so much going for this track, it's really fun. Dat bassline. To use a Larryism, "let's go." YES

Hiya, Contact information: Remixer name: Jorito Real Name: Jorrith Schaap Website: http://www.jorito.net/ Userid: 3917 Submission information: Name of Game(s) Remixed: Kirby's Dream Land 3 Additional Game information: System: SNES Developer: HAL Laboratory Genre: Platforming Released: 1997 Composer: Jun Ishikawa Name of Arrangement: Dreamin' Of Them Funky Ripples! Names of song arranged: Ripple Field (http://www.youtube.com/watch?v=Ayiva561auI) Comments about the mix: So here's a funky, groovy remix of the song "Ripple Field" from the SNES game Kirby's Dream Land 3 that I originally did for the Meat 'n Potatoes compo. Never played the game myself but the source tune was very catchy, and it turned out to be a cool and fun track to work on. I tried going for a bit of live funk band feeling. I started with the funky guitar and the horns, and the slap bass and the organs came quite naturally after that. And of course those nice cheesy jazz scat voices from Omnisphere just begged to be used somewhere, and this song was a very good place for them. Basically got so inspired by the source track that the song more or less created itself. Cheers, Jorrith

Hello guys! I am new to the site. I tried registering an account, but never received a confirmation email, so I can't give you a userID. My username is zsottolano (if you could resend the activation link to this email, maybe I can get you that user ID soon!). I am including my song submission to be reviewed as an attachment. It's in MP3 format and 192 kbit, as specified. The song is a bit over the suggested length of 2-7 minutes, and is at 8:43, but it is all very fluid and connected. If you are having trouble receiving the attachment, the song is on YouTube (in .wav form). I am not sure if email allows files of this size to be submitted, so if you don't receive it, please let me know so I can resend it a different way. It is also on my SoundCloud account (both sites are linked below). Here is the info needed below: Contact Info: Remixer Name: Zack Sottolano Real Name: Zack Sottolano Email Address: Website: (Just links to my YouTube Account): https://www.youtube.com/channel/UCd3sHCKLl7A3Bpk7v2DaDQQ Website 2: (SoundCloud): https://soundcloud.com/zack-sottolano UserId: *see above* *did not receive activation email* Submission Information: Name of Game(s) arranged: Wizards and Warriors; Ironsword: Wizards and Warriors 2 Name of Arrangement: "Kuros Kompression" Name of Individual Songs Arranged: Wind Mountain (WW2); Outside Castle IronSpire (WW1); Title Track (WW1) Additional Information: All songs used within were originally composed by the magnificent David Wise on the original NES. Link to the Original Soundtrack: (The following are 2 separate YouTube links which contain all 3 songs that I've remixed, and are uploaded by WiiGuy309): Wizards and Warriors 1: https://www.youtube.com/watch?v=59oxJMjb4HI ; Wizards and Warriors 2: https://www.youtube.com/watch?v=EtNeyx7-M7Y Own Comments: I have a special spot in my heart for Wizards and Warriors and have been mesmerized by the Title Track and Outside Castle Ironspire songs since I was a kid. David Wise is a personal favorite composer of mine, along with Nobuo Uematsu, and Koji Kondo. I felt like the Wind Mountain song could be a neat segway into exploring the aforementioned themes. I attempted to add the elements of a more modern beat (some might describe the style as chillstep) and I wanted it to have a funky, dance-like quality to it. The part that I really wanted to re-invent was adding various counter melodies and harmonies, such as adding vocal backing to the Outside Castle Ironspire, and I wanted to have multiple counter-melodies in the Title Track to enhance richness and aural delight! I made the entire composition using MIDI in Cubase 7.5 and used 205 different VST plug-ins. It was written painstakingly over about a month with over 60 accumulated hours of work. I am fairly new to DAW's, and have just started using one in May 2014, but have been playing, writing, and creating music since I was 7. I love the video game music community and am looking forward to contributing more to OverClocked ReMix! Thank you for considering my submission!

Plenty of source here, interesting and upbeat orchestral writing. I'm finding this mix to be almost painfully dry. Right from the intro, I feel like backing elements (like plucked instruments) are too loud and I'm not hearing as much humanization as I think there should be, things sound mechanical and stiffly timed. I know I sound like Larry right now, but I hear a lossy effect on some of the strings, there's a distinctive buzzing sound to some of the samples. I hear it on the bass, cello, and even the oboe. If there were some reverb in the track, this effect would be blurred somewhat and wouldn't be so noticeable. An orchestral soundscape should have a somewhat "wall of sound" sound. I'm complaining that backing elements are too loud, and that complaint shouldn't make sense in the "wall of sound" context. Honestly I think the lack of discernable reverb is making this soundscape feel so strange, but you may still want to take some of the backing plucked elements down in volume just a little bit. Reverb is going to help a lot though. Also this arrangement is a little odd, it is mainly Song A, with Song B tacked onto the end of it. I think Song B would have fit better somewhere in the middle with good transitions between the sections. Stuck onto the end in this way it just sounds like you needed a few more seconds of material. It isn't bad per se, it just feels a bit odd. My main gripe in this track is dryness and the loudness of backing instruments such as plucked strings. I'm hoping you can track down the lossy sample(s) and fix that, but I think reverb will blend it better. What do you other Js think of the arrangement? NO (resubmit)

Dear OC Remix, Thanks so much for cultivating and maintaining such a high level of community interest in video game music all these years. I'm kind of upset with myself for only having recently discovered the site; there is SO MUCH GOOD STUFF ON IT. First, it was Jeremy Soule's Squaresoft Variation, then HyperDuck's Hoy, Small Fry!, then Dummy's (Blake Robinson) Portal 2 Remix, and then the list just got bigger and bigger. Hearing the quality of those first two songs though (and not just the production, but also the artistic talent), inspired me to take an honest crack at submitting a high quality piece of music. I have a lot of really great memories playing Gauntlet on NES with my older brother, mostly watching him play actually; I died a lot. And I noticed that the site has only 1 remix currently for that version of the game, so I decided (probably for some Freudian reason) to relive some of those memories by orchestrating two of the most memorable themes from the game. Hal's original 'Song A' sounded very baroque to me, so I gave the main melody to the Harpsichord for the first run through. I had just finished working on two mobile game music scores (wrote about it on reddit if you're interested), and an 'indie-classical' Waltz for a TigSource Forum Competition; this is probably why I decided to completely limit myself to orchestral instruments (except for the trash cymbal) for this remix, which I've only sort of done once before; this posed so many challenges. This was also my first time transcribing a piece of music (I'm not classically trained), which was a tremendous learning experience; any properly trained musician would look at my sheet music and vomit violently in all directions, but I know what it means. After I was about 95% finished with the transcription, I learned that one can actually just import and export midi files (technologgeeee, watz that?); after a few face palms, I realized that I am really glad I notated and arranged it all on my own. I don't think it would've have sounded like 'me' otherwise and half of the writing process was listening to the original, and adding or removing certain notes/flairs to suit my own taste as well as serve the original song best. So I guess technically, this is my first 'cover/remix' and I had so much fun doing it, so it will not be the last! Here is the song. I hope that it meets the standards of the site. And again, honestly, thank you for all the work you've put into building the community; it's very inspiring as an up and coming game composer and I will be coming back again and again. Wow, I did not mean for this email to be so long. Contact Information ReMixer name: Kyle Preston Real name: Kyle Preston Email: Website: http://kylepreston.com Userid Number: 53921 Submission Information Name of game(s) arranged: Gauntlet Name of arrangement: Morak's Bane (Themes From Gauntlet) Name of individual song(s) arranged: Song A, Song B Original Composer: Hal Canon (Do you guys know what became of him? The only info I've found is here and it's chilling) Thanks again. All the best!

Never heard of this game, but neato source, I like it! Right away I like the sounds in the remix, especially that beefy kick. I'm not a fan of faux-trumpet leads, and this one is sort of vanilla but it works. The soundscape is really lush and you've added nice details and candy. The arrangement is plenty similar to the source, no problems there for me, but the arrangement is... odd. I think the track is too long overall. Parts get repetetive, for example in the intro, once the groove gets going at 0:24, the same pattern plays twice until 0:56 without any significant additional elements or writing variation. At 0:56 we are already into a breakdown, then at 1:20, the same melody plays again twice until 1:52. Another little mini-break, then the same melody again from 2:00-2:16, granted this time there is more to the soundscape. Now I've heard the exact same transition sweep three times. At 2:20, an extended breakdown begins. I like the ocean sounds, but I feel like this breakdown goes on too sparsely for too long (2:20-3:30)(and followed by the same transition sweep), and I'm starting to feel a lot of stop/starts in this track, and it feels awkward. You've used the same transition sweep in the track too many times to count. Way overused. The track seems to end at 6:08, but then the ocean sounds and EP from the breakdown begin again, this seems unnecessary after such a final sounding outro. This track sounds good, mixing is good. The sounds are a bit vanilla but they are used well. But the arrangement I feel goes on too long, and there are too many oddly placed breaks and awkward transitions. The melody writing is simple and not heavily interpreted through much of the track. If you were to cut some of the more repetitive sections of the track in half (such as the sections with two identical playthroughs of the melody), cut the long breakdown shorter, and remove some of the awkward breaks and instead transition the parts together better, this would be a winner! NO (resubmit)

Remixer Name: APZX Real Name: Austin Simons E-mail Address: User ID: 30429 Game Arranged: Out Run Name of Arrangement: Song Arranged: Passing Breeze Additional Game Information: Out Run's original composer was Hiroshi Kawaguchi. A quick link to the original in case anyone is not familiar with the original track, Passing Breeze My first encounter with Out Run was actually a demo on the Xbox for Out Run 2006 and the track that played was simply fantastic. Now, that there is considerably more information on the internet about things I discovered that there was an original game from 1986 with an absolutely glorious piece of music. I decided one day to just sit down and see what I could do with taking the original and really just make it a bit more my style. ------------------------------------------------------

Might be a bit mid-heavy now, but it sounds to me like the whole soundscape just became more 3d. I hear more detail in all the right places. It is a very busy mix but most everything is audible now. It's borderline too busy near the end but I think the mixing is working much better overall. I'm cool with this. If it still doesn't pass, I recommend taking down the mids by a couple of db. edit: I agree with Larry about the brass, that's what sounds too mid-heavy. Still a pass! YES

previous decision Apart from the title and updated link the info below didn’t change. Also a big shout-out to Timaeus222 who lent me his ears for mixing stuff (and created an alternative mix that I didn’t end up using ). Contact information: Remixer name: Jorito Real Name: Jorrith Schaap Email: Website: http://www.jorito.net/ Userid: 3917 Submission information: Name of Game(s) Remixed: Contra Name of Arrangement: Aliens in my waterfall! Names of songs arranged: Waterfall (https://www.youtube.com/watch?v=U58a-svZok8) and some subtle references in the calm part to parts of Jungle (https://www.youtube.com/watch?v=O04bPRzqEEk) Comments about the mix: For years the music from Konami's Contra (https://en.wikipedia.org/wiki/Contra_(video_game)) waterfall theme has been stuck in my head and I thought it'd deserve a remix. Of course there are plenty of rock/metal Contra covers around already, so I decided to do things a bit differently. A few months ago I finally found the time and inspiration to actually do something with this track, so I fired up my DAW and some orchestral patches and started working on it. I'm not much of an orchestrator, but I like combining different genres and thought injecting a bit of rock would be a good idea. After a few WIPs I offered a demo link to some people at #ocrwip. Ivan Hakštok liked it and offered to play the rhythm guitar. A bit later, I found some nice drum video by Erik Vreven and asked him to play in the drums. Finally, deciding it needed a bit more climatic ending I added in a MIDI lead guitar, decided a real guitar would immensely improve things and asked Sixto if he would play a bit of lead guitar. So there you have it, a full on rock/orchestral take on Contra's waterfall theme combined with some (not so) subtle references to the level 1 "Jungle" theme in the calmer parts of the song, featuring the following guest contributors: - Ivan Hakštok (rhythm guitars) - Erik Vreven (drums) - Sixto Sounds (lead guitar) Cheers, Jorrith

"It's disgusting, revolting, and even a little offensive how multi-talented Jordan is" Yes djp, that covers it nicely. Ok so this is the first time I've heard the UPDATED version, just when I thought it couldn't get any better, it did. *gives up music forever and walks away from Cubase*

Larry, ok so I was getting ready to call you out on having cotton in your ears... but when listening to this track at extremely high volume as you suggested, I do hear the hiss you are referring to. That's a shame, and there is a hiss inherent in the piano sample. And while I just learned something valuable about listening at louder volumes for judging issues, this isn't a track I would ever BLAST at loud volumes! At normal listening volume, it sounds very clean. I find the mixing to be very clean overall. This track has plenty of source and the arrangement is so darned lovely that it brings me to tears. Love it. YES

Now that's what I'm talkin' about! That middle section was such a huge missed opportunity, now it is COOOOOL. That's the stuff. All other issues I mentioned have been addressed. You made a very good 3d soundscape. This is epic now, I'm super loving it. Putting it in my favorites folder. Just a note for next time... the synth you chose for the final solo is indeed a bit plain but the writing is great. Next time why not experiment with a patch that has some delayed vibrato or some type of modulation that evolves over time, and then apply some other evolving effects too... WOW you'd have something really dynamite there. YES

I always expect lovely piano playing from PI511 and it does not disappoint. This is really nicely played, and I love time signature adaptations. Wes put it perfectly when he said Tornado Man sounds familiar yet totally foreign at the same time! The piano tone is nice, the reverb is tasteful. But gosh this track is sparse. It is very quiet first of all, I only see it hit at about -6db at the loudest notes, and that is SUPER quiet. The softer parts hover around -24db. This isn't a dealbreaker in and of itself though. While the playing is really very nice, I actually don't find this substantial enough to be an OC ReMix since it is not only sparse and quiet but very short. This is a conundrum indeed, but my gut is telling me this isn't quite enough to do the job. I wonder what some gentle string backing might sound like. NO (resubmit)

Interesting ideas here, I like that bass right away. I like the contrast with the more traditional sounds. The mix is very loud, hitting -8db RMS at its loudest and it doesn't have much dynamic range. The writing sounds very similar to the source, other than just a few little note tweaks it is the exact source writing. The drum writing is very generic. I'm not finding this to be much of an interpretation on this source melody. Trucker's gear shift! The arrangement doesn't have a proper outro and it just ends. I like the ideas but I don't think it's quite there yet. NO (resubmit)

OC Remix Username: Celtik Youtube: ww.youtube.com/CeltikOfficial -----------------------------------------------------------------------

metaphist (Paul Ford, 8822) new site: music.metaphist.com Sonic the Hedgehog (sms) - Green Hill Zone "A Blue-Green Color" This started out as me trying to mix "Green Hill Zone" in the style of a Sonic R song, mostly taking inspiration from "You're My Number One." At one point I was trying to mix in some of that source so I could include it on the Sonic R album project that was going on at the time. Although that would have been awesome, I couldn't really make it work out, so I just scaled it back to Green Hill Zone and didn't worry too much about it resembling Sonic R in any way, though you can still hear the influences.

The first note starts too abruptly as if the render didn't catch the very beginning. You might want to intro with a filtered swoosh or something. Everything sounds super dry, and it really shouldn't sound so bone dry in an ambient mix. There are too many harsh mid-high frequencies in the mix. The hard panning is VERY distracting, it makes for a choppy soundscape. Gosh, please don't pan things so harshly. It may not be that noticeable on headphones, but on speakers, it really sounds weird and disconnected. At 2:22 the severe gating is not enjoyable, it sounds empty and robotic. Larry and Wes both made some very good points. The mixing needs to be cleaned up, making the instruments audible while eliminating unpleasant frequencies. There is a good deal of repetition in the arrangement. There are parts that don't seem to have meaningful leadwork. The lead writing I hear is predictable and pretty much grooveless, sorry to say. Lots of boring whole notes. The drumming is tedious. I'm sorry, I know this sounds harsh. I think you have some good ideas here, but they aren't produced well enough yet. You might want to drop this mix into our workshop forum and get some more guidance from the folks there. I think this arrangement can work but it will need quite a bit of work. NO

Well I am loving this arrangement! I love that you started off in 4/4 and then at 1:38 you switch to 3/4. Ah, I just love mixed time signature tracks. You really did justice to this little source. The transitions are smooth, and the interpreted sections are really lovely. The writing gets almost a bit too original sometimes, but always comes back to identifiable source. At 3:02 it's back to 4/4, smooth as buttah. NICE. Unfortunately, I agree with Wes about this piano sample. Maybe it isn't the most velocity sensitive sample, I'm hoping it can just be switched out for a better sample or that you have a velocity-sensitivity slider that you can work with. I hear plenty of dynamics throughout the track, and the playing is very lovely, but the velocities are quite stiff. The note-timing is also stiff; if you quantized this after playing it, you may have done it too severely. The piano tone is nice but it sounds somewhat muffled to me, and a bit lossy as well, and I hear some resonances on the louder notes. I think this sample is holding the track back. I'm tempted to yes this purely on how great the arrangement and writing are, but I'd really prefer some more work be done on getting the piano sample and quantization sounding just right. NO (please resubmit)

Wow, this vocal remix is quite a bold idea, I like the lyrics! Haha, some of them are quite funny! The guitar playing is good too. The arrangement is simple and repetitive but the lyrics are quite creative. The vocals, while passionate, aren't the best, they are just a bit pitchy and nasal. I don't think this would be as noticeable if they were mixed better. The vocals are really super dry and sitting on top of the guitar in an unnatural way. I'm not good with vocals so I hope a judge with vocal mixing experience will chime in. The mix is rather sparse, with only vocals and guitar. While not necessary, I think this mix would be much better with some more elements added: some bass, drums, or backing padding of some sort. Even so, this idea could work as-is, but the vocal mixing is killing this dead. NO

ReMixer Name: Modern Day Minstrel Real Name: Riccardo Estate E-mail: Website: http://www.riccardoestate.com/ UserID: 53865 Game: The Elder Scrolls 5: Skyrim Arrangement: Whiterun’s Where I’m Found Arranged Song: Dragonborn

Well this is interesting! Lots of unique ideas here, cool stuff. I certainly hear plenty of source. Fun groove established right away. Nice filtering effects. I feel like the mix ended up being too long, some sections are double what they should be to make their point, for example 0:55-1:23 should be half the length or contain many more items of interest. The sound at 1:23 is pretty cheesy, and the drop that it leads to at 1:38 is a let down. The transition at 3:22 is quite interesting, but the section that follows is straight-up boring, sorry to say. It is so slow, I can't wait for it to pick up again. At 4:52, there is some interesting syncopation happening, but it isn't filled out very much so it sounds awkward and bare. At 5:20 though, I like how you filtered the arp out and the drums in, that's an example of something that works well in the track. Lots of good arrangement ideas here, and some that fall completely flat. I do think this is a good start, there are lots of great ideas, it just needs to be trimmed down by nearly half and it needs some more development as well, more ear candy and more variation. The drums in particular are very generic kick-clap without a lot of interest. The bass always plays the same thing. Cut this track down, then have fun with what's left, and let's hear this one again. NO (resubmit)

ReMixer Name: Dr. Title Real Name: Patrick Fennig Email: Website: drtitlemusic.com Userid: 53938 Name of Game: Crash Bandicoot 3: Warped Name of Arrangement: ARFWOW (A Room From Which One Warps) Name of Song: Warp Room Original Composer: Mark Mothersbaugh Platform: Playstation 1 Link to Original: https://www.youtube.com/watch?v=NaDrcT3UxZw Made with Apple's Logic Pro 9.

Wow another really well done Zelda medley, this time in orchestral style. Great dynamics here, transitions are pretty smooth. Super use of samples, mixing is really good, tasteful reverb. I'm inclined to say YES as long as this type of medley is ok. It sounds really cohesive to me. YES