Chimpazilla

Pumpkin King Joe Dumpe youtube.com/pumpkinking872 48065 Game: Donkey Kong Country 2 My arrangement: Frigid Fingers Name of song arranged: In a Snow-Bound Land I played this on my Korg Krome and used the German Grand Reverb preset. I played the tune slowly and simply. I also added my own section that was mostly improvised to build up to a nice conclusion. ---------------------------------------------------------------

Oh man this compo died suddenly of a massive heart attack, and was never heard from again. Sorry guys!

Quick thoughts... this track has some aspects that are really working well, and other parts that... don't work as well. Interesting combination of styles here, not sure they work well together. Drums are weak. Writing is repetitive. Will vote later.

The remix is attached to the email, but can also be found on the link below Link to remix: Contact Information: ReMixer name: Qumu Email Address: UserID: 40215 Submission Information: Name of Game: Banjo-Kazooie Name of Arrangement: Grunty's Engines Name of Arranged Song: Rusty Bucket Bay Comment: For a long time I have been wanting to remix the Rusty Bucket Bay music, but I have never gotten around to it. The original track is filled with some kind of sinister determination which I really enjoy and would love to recreate. My goal with the mix when I started was to stay as true to the original track as possible while still adding my own touch to it. So the mix started out as a near straight forward recreation of the track with electronic sounds drums, but working that way got me stumped almost immediately as it got way too chaotic at the main part of the mix. After some time of no progress I decided to experiment by adding some swing to the mix, which turned out better than expected and opened up a lot of possibilities. From there the whole mix was reworked to swing and I did my best to recreate some of the "Grant Kirkhope feeling" of the original track by throwing in some brass and marimbas. The name of the mix is a reference to the puzzle piece behind the propellers of the Rusty Bucket, which is the one I believe to be the hardest to get in the game. -"A simple task you were sure, but Grunty's engines start once more!"- -------------------------------------

I like the metal production of this song but I find the main synth lead really weak and also too wide of a sound (too many harmonics) to fit well with such a harmonically busy guitar soundscape. The source use is straightforward, no problem there. A little more melodic interpretation would be nice but not necessary. Drums sound good, guitar work is very good... it's just that main lead that is blowing this for me. NO (resubmit)

Radeitsu Cory Wanderlich 33625 Mighty Morphin Power Rangers Metallic Butcher Area 2 (Gnarly Gnome) Super Nintendo

Resubbed from a form letter rejection - LT Song Link(Also Attached) Contact Information HanSoto Christopher Soto https://soundcloud.com/hansoto-1 and (https://soundcloud.com/electro-fish-2) Submission Information Metroid Party On Brinstar (Brinstar Dance Mix) Brinstar (From Metroid; NES) This is primarily a re-submission with an attempt at mastering the Audio & cleaning up the sound. ------------------------------------------

ReMixer Name: Magicmusic06 Name of game(s) arranged: Street Fighter III 2nd Impact Name of arrangement: Club Sluggers Name of individual song(s) arranged: Leave Alone (Dudley's Theme Music) Original Composer: Hideki Okugawa My channel: http://www.youtube.com/user/Magicmusic06 This is one of my favorite ost so I was inspired to remix it with a more chill House feel. -----------------------------

I flipped to YES. Sorry about your lost laptop and files. No hate intended, I DO love the mix... I did think it was a quick fix and I was shooting for perfection with the track since it is so good. No way would I just let this go with a NO.

The Ballad of the Windfish is a lovely source. I hear just the first three notes of the source in the intro until 1:03, but after 1:03 the melody is readily apparent. This is a very soft interpretation of this source, too soft... the majority of the track is mastered at -30db, with only a couple of louder sections. The outro only hits at -40db... I actually thought the track was finished but then I heard something... more music... wow is it quiet. I find the dynamic range (specifically the long stretches of extreme quiet) in this track distracting. The other issue I have is with the string articulations, they sound noticeably fake, most obvious in the intro where they are the most exposed. The track overall feels very empty and all the instruments seem muffled and lifeless. I get that you are going for a sparse and emotional feel, but it just feels like there needs to be more development somehow. Also, the file that was included with the email was an mp4. I converted it to an mp3 at the quality of the original, which turned out to be 128kbps. We need a 192kbps or VBR1 mp3 for accepted mixes. NO (resubmit)

Hello- this is a revision to a prior submission. I had originally sent this submission on 12/4/13, but I know that it is still buried in the queue of submissions. I made some major improvements to the arrangement, and I would very much appreciate it if you could please consider this track to be my ONLY and FINAL version of this arrangement. My name is LindsayAnne Pepper and I would like to submit my arrangement of the "Ballad of the Wind Fish" from Link's Awakening, a Legend of Zelda game. I have named this piece "Disappearing Dream." I have loved this melody since I played the original Link's Awakening back on my GameBoy 20 years ago. After attending the Symphony of the Goddesses concert, I was inspired to write my own arrangement of my favorite Legend of Zelda melody. I hope you enjoy it. Contact Information Your ReMixer name : LindsayAnne Pepper Your real name: Lindsay Anne Pepper Your email address: Your website: N/A Your userid : 4624 --------------------------------------------------------

The only reason I didn't Direct Post this track is that the mastering is so quiet. A bit of compression would really make this track shine. Other than that, I just adore this, really groovy and classy, very well done. Source is straightforward, and this is a great reinterpretation. I hope we hear more from you Jonathan, and just a bit louder next time please. (not squashed though) edit 12/5/14: new version remastered by Flexstyle... YAY! Even more YES now. YES

Hey, I've long been a fan of OC ReMix, and since I recently recorded a bunch of tracks for a CD of mine, I thought I'd try submitting one of the more original arrangements. My arrangement is called "Aqua Tides", and is an arrangement of "Aqua Star" (I believe) from Kirby 64: the Crystal Shards. Many of my arrangements are in this sort of jazz piano style, and I try to pull inspiration from the likes of Vince Guaraldi and Dave Brubeck, two of my favorite artists. This piece in particular I'd wanted to cover in some form or another for some time, but the typical poppy 4/4 beat from most Kirby games, particularly 64, didn't lend itself well to piano. However, I thought it worked a great deal better in a smoother 6/8, and it kind of has a natural roll to it that, to me, evokes the feeling of small waves on the shore. Here's a link to the track; please let me know if this is the wrong format, or if it's not on Dropbox for whatever reason: As a side note, this track is currently for sale on Loudr.fm and iTunes as "Aqua Star (from Kirby 64: the Crystal Shards)", as part of my cover album "Video Game Variations 2". By my understanding of your content policy, I believe I can continue distributing the track as such so long as I don't distribute it with any connection to OC ReMix (as is the case currently; I'm not even using the same track name), but if this submission can't be accepted because of that, then I'll see if I can't come up with a similar arrangement for another track in the future, and I'm sorry for taking your time. I certainly have no problem with your distribution of the track as you see fit per the terms of your content policy, so long as I am allowed to keep selling the track myself in its current state. Contact information: ReMixer name - jdaster64 (I don't have an account on the site/forums yet, but I'll probably make one soon) Real name - Jonathan Aldrich E-mail address - Website - www.youtube.com/jdaster64piano, jdaster64.tumblr.com Thank you for your time, and if this isn't accepted, please let me know what I can do in the future to improve it or future arrangements! ~ Jonathan "jdaster64" Aldrich ---------------------------------------------------------------------------

Garpocalypse garpocalypse.blogspot.com 31287 This remix of the Supremacy Title screen was originally written in two days for the PRC crowd. After taking second place to Sir Nutz it sat on my harddrive where it became my mixing fodder for an entire year. This remix is special to me in that it documents the progress I made production wise over the past year and after 15 different versions I think it's at the point where it can make a run through the panel. Remix Name: Cosmic Cataclysm Genre: Epic Electronic Metal Source: Source usage: The remix uses the chord progression that is present in the more upbeat part of the source throughout the remix. 00:00-00:34 -3/4 of the intro melody of the source split between some different instruments 00:35-01:05 - Variations on the second section of the source 01:06-02:21- More variations on the same second section of the source 02:22-02:52- Elongation of the buildup around 2:28 of the source 02:52-End - Recap of the second section of the source ---------------------------------------

ReMixer Names: Brandon Strader, Chickenwarlord, Hylian Lemon, Tuberz McGee Userids: [Chickenwarlord: 16195] [Tuberz McGee: 44165] Game: The Legend of Zelda: Oracle of Seasons Arrangement title: No Rain in the Desert Song arranged: Dancing Dragon Dungeon Comments: Hylian Lemon: This is part of the summer section of our Oracle of Seasons project, Lime of the Season. Chickenwarlord and I did Ages' level 4 theme for Essence of Lime, so of course we would work together for Seasons' equivalent. We wrote the first half of the arrangement together in MIDI form, and then I finished it myself in FL Studio due to technical difficulties on Chicken's end. Brandon strummed everything and played the first minute or so of guitar leads, and Tuberz finished off the rest of the leads. Then I fiddled with some knobs and messed everything up. Big thanks to the guitarists for breathing life into the worst guitar writing they've ever seen in their lives, and to Chickenwarlord for adding creativity fuel to the arrangement. <3 you all Brandon Strader: I'm sorry for holding things up as long as I did. I hope people enjoy the song. Huge thanks and congrats to Ben Hoffman. Tuberz McGee: Man this mix is solid. I love the chippity choppity goodness going on here. I love the harmony and how it shifts about into sometimes completely unfathomed territory. I love it. I was glad to join Brandon in the addition of Guitars to this mix. Really glad. Chickenwarlord: I'm responsible for a lot of the twiddly bits and flourishes in the arrangement prior to 2 minutes. Really happy to work with Ben on a Level 4 theme for the second time in my arranging career. The work as a whole is really Ben's brainchild and I was fortunate enough to get a small glimpse into some of his arrangement style. It ended up a little bit more chippy than I had originally envisioned (Lemon's comment: everything I touch turns to chips), but the final piece is something that is the product of more than one fantastic imagination. I hope you enjoy listening!

ReMixers: Ivan Hakštok, jnWake, Wild_Cat, XPRTNovice Name of game(s) arranged: Super Final Match Tennis, Sonic The Hedgehog 2006 Name of arrangement: 5 Minutes of Glory Composers: Takamitsu Kajikawa (Super Final Match Tennis), Tomoya Ohtani, Mariko Nanba, Hideaki Kobayashi, Taihei Sato, Takahito Eguchi, Seirou Okamoto, Jun Senoue (Sonic 2006) Link to the original soundtracks: Super Final Match Tennis - Ending: Sonic the Hedgehog 2006 - Wave Ocean Inlet: I made this song for the MAGFest XII edition of Dwelling of Duels, and it ended up placing 14th out of 35 entries. I found the source theme by going through random youtube vgm playlists and I knew that I had to cover it because it's the most "Hakstok" song ever! After I started working on the arrangement, I added a part from a Sonic 2006 song because it had similar chords and fit nicely in the mix. Since this was a MAGFest DoD, I decided to go all out so I recruited several people to perform live instruments. The initial arrangement was done in less than 3 days, so that gave me lots of time to find people, and three brave ones answered the call! Here's the lineup: Ivan Hakštok - mixing, guitars, drum sequencing, piano sequencing, backing synths Wake: lead synths, organ, piano editing Wild_Cat: bass XPRTNovice: saxophone I consider this song my best work so far, but you know, I can't be very objective so I'll let Mr. Andreas sum it up for you with excerpts from the DoD listening party log: [01:10] <snappleman> I like that snare [01:13] <snappleman> clapping [01:14] <snappleman> sounds so fucking awesome in mono [01:14] <snappleman> that's the test for all the mixes [01:14] <snappleman> 3/6, good mix, high energy I hope he won't be mad because I used his quotes without permission. Now, here's the source breakdown: 0:00 - 0:43 = original intro 0:43 - 0:54 = chords based on A section (0:07 - 0:20) of the SFMT source 0:54 - 1:41 = pretty much a cover of the SFMT source 1:41 - 2:08 = guitar solo, chords based on the A section of the SFMT source 2:08 - 2:30 = section C (1:10 - 1:30) of the Sonic 2006 source 2:30 - 2:54 = organ solo with the same chords as the previous part 2:54 - 3:06 = B section (0:20 - 0:32) of the SFMT source with some additional synth wankery 3:06 - 3:29 = the "chorus" section of the SFMT source (0:32 - 0:56) 3:29 - 4:15 = another guitar solo over the chords from the SFMT source 4:15 - 5:02 = chorus section of the SFMT source 5:12 - 5:33 = some outro wankery over the chords from the chorus section of the SFMT source Thanks again to Wake, Wild_Cat and XPRTNovice for contributing to my track and making it 10x more awesome!

ReMixer Name: DusK Real Name: Dustin Branscum Website: http://www.itstartsatdusk.com User ID: 24328 Game: Star Ocean: The Second Story Arrangement Name: "This Love, Our Love" Song Arranged: "The venerable forest" Platform: Playstation Composer: Motoi Sakuraba Release Year: 1998 (JP), 1999 (NA), 2000 (EU) Source: Lyrics: You take me away from loss You give, and you give freely We'll walk through this world unharmed As long as you walk with me Through smoke and ash, we're hand in hand You bring me far above And though we're two against the land We wield this love, our love You robes flowing in the wind My armor scratched and torn You make me whole again An embrace soft as it is warm Though darkness looms, we're back to back You bring me far above And though we're two, and worlds fade black We wield this love, our love We'll take on this world With our fates entwined Never lose your wand I need you at my side Through paths and trees, with sword and staff We'll fight, endure, it all Though outnumbered, not outmatched, we'll always have This love, our love We'll take on this world With our fates entwined Never lose your wand I need you at my side Though outnumbered, not outmatched, we'll always have This love, our love Comments: I did this remix to perform it live at my wedding reception. My wife walked down the aisle to "The venerable forest", so it seemed fitting that I create a vocal remix of the track. I spent a great deal of time on the instrumentation, particularly the string sections, and I feel it's by far my best attempt at creating a convincing orchestral piece using samples, something I'd love to do more often. The vocals were revised quite a bit after I got some feedback from Flexstyle, who noted that the original recording was fairly pitchy. The lyrics create a comparison to marriage through references to the roles we both commonly play in MMORPGs. Enjoy.

I'd really love to put this track on Youtube... especially since I can't submit it to OCR... but I need someone to help me put together a fitting video. I'm thinking a combination of still images and bits of gameplay. I am not good at making videos. Anyone wanna help me with that?

"Hello Hello" Hey guys! My son and I are obsessed with the Five Nights at Freddy's games (FNAF1 & FNAF2). When I discovered that all the sfx were available on the FNAF wiki page, I just had to do a remix. This track is based on the Puppet's music box theme that appears in FNAF2, which is "My Grandfather's Clock." Since this tune wasn't written for the game, my mix is ineligible for submission to OCR, but I had to do it anyway. I'm hoping my fellow FNAF fans will enjoy it anyway. It was a lot of fun to make! From FNAF2: "My Grandfather's Clock" - the Puppet's music box theme Balloon Boy vocals heavy breathing sfx from the Freddy mask From FNAF1: all other sfx!

Remixer name - Ethan Rex Real name - Ethan Rex Email - Website - www.facebook.com/ethanrexmusic User ID - 45328 Games arranged - Mega Man & Bass and Darkwing Duck Name of arrangement - Groundpowuh Songs arranged - Ground Man and Moliarty's Tower Hey team, Ethan here. This mix is from Darkesword's Wily Castle Remix Gauntlet. In this round, the Robot Masters were climbing up Moliarty's Tower in an attempt to stop the evil Dr. Wily, or something like that. I was representing The Robutt Masters (consisting of Tuberz McGee, Kuolema, and myself) as Ground Man. Since this was my first mix for the compo, I really wanted to really knock it out of the park arrangement wise. I tried to tap into the funk that pervades both the Ground man and the Moliarty source, while adding some chippy elements that I love so much. While the production on this track for the compo was pretty lackluster, I threw it in the Workshop forum for some feedback and got some stellar advice. I also want to give a shoutout to ectogemia for showing me a lot of mastering techniques that I used on this track. Hope you enjoy! MM&B - http://www.youtube.com/watch?v=im0JATAC5zc DwD -

Yes Nathan, it's chaotic. *takes two Motrin* I decided to take a stab at the source use. I'd appreciate if someone else could help me verify this: remix 0:00-0:22 is source 0:00-0:14 (22 seconds) remix 0:22-0:44 is source 0:14-0:26 (22 seconds) remix 0:44-0:53 is original remix 0:53-1:26 is source 0:28-0:55 but I only hear the backing arp and the lead writing seems to be original (33 seconds if arp is enough source) remix 1:26-1:32 is original remix 1:32-1:48 is source 0:55-1:09 (16 seconds) remix 1:48-2:11 is source 0:55-1:09 but very interpreted (23 seconds if this counts) remix 2:11-2:22 is original remix 2:22-2:44 seems to be based on the source bassline from 1:09-1:17, heavily interpreted, wow that's tenuous (22 seconds) remix 2:44-3:06 same as above but with a lead melody I can't recognize (22 seconds) remix 3:06-3:19 is source 1:17-1:20 (13 seconds) 173/199 or 87% source if all the above counts, someone help me determine if it all counts ok? The track is very VERY hectic. There's a lot of stuff going all at once, it's probably mixed about as well as I'd expect while being this busy. I don't have any real criticisms other than it just feels too busy. I like the transitions but I wish there was an actual soft breakdown somewhere, emphasis on "break." *whew* YES

This is a good sounding mix and I like the approach, the guitar work sounds very good, the drums sound good as well. Larry has done an amazingly detailed job here, I'm pretty much just verifying his research. He's spot on in every aspect so I'm going to mainly co-sign with him. Those cut and paste sections he mentioned are exact duplicates, I layered them to be sure: 0:51-1:15 is identical to 3:23-3:40 1:36-1:55 is identical to 2:28-2:47 This is really a no-go for OCR, gotta vary it at least a little bit. It does seem that you've lowpassed the track pretty steeply at around 17KHz so you've lost some "air." You could still control the highs using a high shelf instead, and keep some of that air there. This isn't a dealbreaker but a little more highs would round out the soundscape a little better. And yeah, the sources are pretty obscured apart from the direct sampling. That's a big bummer. So these issues add up to a NO in my mind as well. NO (resubmit)

TWO postings of that tewtoriel is TWICE as lowd! SOMETIMEZ YOU CAN EVEN PUSH UP THE MASTER PHAYDER... I LIEK TO GO ALL THE WEEEYYYYYYY.....

That's a thick beat. I remember this track from FFCC, I still like it, dat beat! There are some areas of the arrangement where the Cry in Sorrow source is pretty ambient, where I feel like the harmonies don't quite work, such as 0:33-0:48. The theme seems to get smeared at this point since not every note is played (as it is being played by a slow-attack pad) and the pad notes conflict with the bass notes occasionally in this section too. Pretty slick integration of the Sazh bassline starting from 0:48 though, nice. You've added in that bassline in a really nice and subtle way in this track. From 1:03-2:02 the Cry in Sorrow theme is really liberal and only represented by it's arp pattern, I wish the melody were represented here at least once, that's a long stretch. The Sazh bassline is there, though, well done. At 2:02 when the melody does come back, the harmonies again don't quite work. It's the pad that's the problem I think. From 2:31-4:00 , again the Cry in Sorrow source is minimized just to the backing source arp. Lots of cool original soloing here along with the arp, and the bassline is harder to follow here... until 2:47, I love how you integrated and interpreted the Sazh bassline here. At 4:00 the harmonies are wonky yet again. The mixing feels midrange crowded with the pad competing in the range for the leads and the upper end of the bass. The pad is the biggest problem, I recommend notching some frequencies out of the pad to let the lead timbres and bass buzz come through. The drums are really nice (and dat beat!) but that same transition drum pattern appears quite a few times, and that final repetition of this pattern at 4:27 isn't needed at all imo. Wide panned hats could use a touch of reverb. Source use is plenty, it is surprisingly subtle yet works very well. If the mixing were cleaned up somewhat, making room in the middle for leads/bass crunch, the production would be there for me. This is smartly written and I really like the arrangement and the blending of themes. I hate to do this but I really think one more mixing cleanup would make this so much better. Notch that pad at 2-4KHz (and possibly reduce some higher frequencies too), take a look at some of the bass notes at 0:33-0:48 to make sure they compliment the pad writing, ok? NO (extremely borderline) (resub quickly please)