Chimpazilla

What a lovely genre-swap idea for this cute little source. It is minimalistic and relaxing. The arrangement is conservative, follows source very closely, even the choir coming in toward the middle, but it sounds nice. The noodling from 1:25 - 2:01 is nice as well. Unfortunately, it appears that a good chunk of the second half of this track is strictly cut and paste. 2:01 - 3:18 is a cut and paste of 0:00 - 1:15. Even the guitar squeaks line up. This is a shame. If you can write something different after 2:01, or even the same writing but played differently, continue to reference the source melody but with a little bit of variation, this would work. Maybe try a different pad for the second half, that would add even more variation, and/or you could add additional elements. Then it would need a unique ending as well. I'd really like to hear this one again with a revised second half. NO (resubmit)

Super as usual, Risto, I love it, this is just my speed. Gonna buy. edit: purchased. I love this, gonna use it to zone out and meditate to.

Remixer Name: Greyvoice Real Name: Morgan Mills Email Address: Name Of Games Arranged: Kirby 64: The Crystal Shards Name of Arrangement: Forest Of Strings Name Of Song Arranged: Quiet Forest (level 2)

What the... I don't even.... omg wow... haha this track is aggressive and cool! Vocal haters, come on out. I think the vocals do capture the dark aggression of a vicious boss, though. Ok so I had to go watch this boss battle to really get the flavor of what's going on here. "Open your heart to darkness" indeed. YIKES. I really like the note progressions on the piano, quite dark and evil against the screaming saws. The speedup at 1:50 is cool. I feel like there's enough source but I haven't done a full breakdown. Gonna relisten to be sure, though. Production on this one is great as far as I can tell. Great ideas, very cool arrangement. I wish the ending wasn't quite so abrupt, but I'm over it. Devilishly good stuff. Glad you decided to "SUBMIT!" haha! edit 10/21/14: Aw, damn. Flex is right, gotta replace the Billy Zane vocal clips with your own. Hopefully not a problem, and should be fun to do? NO (resub PLEASE with your own vocals instead of Billy Zane so I can YES this)

Tspeiro Tyler Speiran 49080 Submission Information Kingdom Hearts Open Your Heart Ansem Theme Yōko Shimomura I love the music from Kingdom Hearts games and wanted to do another remix.

I admit I haven't played this game, so it was surprising to me hearing that the source tune is basically an opera track! So the genre conversion to dubstep is incredibly cool and creative. The remix uses some generic-ish sounds, but they are used well. The dubstep beat is cool but almost sounds too plodding after awhile. I really like how chiptune sounds have been used to replace the orchestral instruments in the source. Some of the widely-harmonic chip sounds are running a bit hot but it still works I think. Unfortunately, the dealbreaker for me is that the track was pretty much written once and then cloned. Other than one extra element added for variation (a backing synth playing blocked chords), the first and second halves are identical (yes, I did my layering trick, I can post the results if anyone wants). The ending starting at 3:14 is the only part I found to be unique (and I sure like that ending). This is too bad. I really love this concept, and it sounds good, but the first and second halves are just too similar. If you could change up the second half some, change the instrumentation somewhat or introduce a different lead, do some soloing or something, just anything to differentiate the two halves, I'd be onboard! NO (resubmit)

Contact Artist name: Arctic Real name: Victor Madsen E-mail: Game: Super Smash Bros. Brawl Arrangement name: Super Smash Bros. Brawl Theme (Arctic Dubstep Remix) Songs: Super Smash Bros. Brawl Theme Original song: I recently got this remix almost 20k views on my youtube channel, something that I never thought was going to happen. I’m very pleased with this track, so thank you very much for checking it out. Thanks

Other than the chord progression from the source, which is pretty simple, this track does take a long time to get started, all the way until 2:00 when the source melody begins filtering in, but it is nearly a 7 minute track. I am enjoying the extended filter-opening tease. The instrumentation is good, mixing is well done except I find the claps too loud and dry. Some delay would work well on the claps, and at the very least quite a bit more reverb on them. Or, how cool would it be if the claps were sometimes dry, other times super delayed and wide panned? The arrangement is straightforward, source is easily identifiable, although the majority of source use seems to be chord progressions rather than melody, but that fits this deep house style. Often the melody line is played by what I would consider backing instruments and for the most part there is no lead. Again, fits the genre. I like the breakdown beginning at 4:00, soft yet spooky. Some harmonic dissonance begins creeping in around 4:30 and by 4:45 it is quite pronounced. I like this and find it interesting, not sure if everyone will though. Breakdown lasts about a minute and a half, a good amount of time for this track. My only real gripe on this track is the claps. They are so integral to the track, and they are so centered and dry. Not enough to put me off this track though, I can totally zone out to this. Trippy and cool. YES

Hey OCRemix! Long time listener, first time mixer here. My name is Christian Michael Poynter, artist name Arth4da. The piece I decided to remix was "Song of Healing" from The Legend of Zelda: Majora's Mask. When I heard my friend playing a piano version of the piece I lit up, Inspiration struck me and I stole his printed sheet music. I remembered playing the game as a kid but I had forgotten how beautiful the song was. Cycling between playing this song on piano and listening to way too much deep house music, the synthesis was inevitable. In the project I strived to create a dreamlike track that you could almost fall asleep to, were it not for the heavy house percussion firmly grounding you in the ambiance. Because of a terrible affliction for puns, I called my submission "House of Healing" (bahaha get it?). The buildup to the source material is long, with everything except the chord progression being original until about 2:00 when the melody shows itself for the first time and remains a prominent part of the song in various ways through the rest of the track. I tried to keep a deep house feel in mind, so at times the melody is almost obscured, and made into a part of the mix's essential structure; Punctuated by melodic lines fading into the front and then back into obscurity. My motto to myself while working was something like: "Song of Healing is way cool, but what would it sound like if Kaito wrote it?"

We've dissolved from congratulations into synesthesia and silly memes.

What a perfectly horrible source tune! Haha! This mix on the other hand, sounds pretty darned good. The arrangement is quite conservative, and ends up sounding a bit repeaty... but there is some super tasty personalization, and a definite Kraftwerk-meets-dancefloor flair going on. I love the filtered intro, the hard hitting drums and the glitching. There is some purposefully dissonant chippy-arpy stuff that I really like. Lots of little details here, good soloing. YES

This is Showroom Dummy, hello everybody. I have no remixer ID on the forums, but I have a posted remix XD Anyways, this is my newest remix: It's from Xenophobe AMIGA I make it for PRC #258 http://ocremix.org/forums/showthread.php?t=45430 My style is more old electro influences and more calm but this mix I went very modern electro but with some twists . I always try to keep pulse waves in mixes and this is one with them too. It is very powerful and I worked more on keeping it surprising for the listener all the time. Hope is good for you guys and thanks for listening! (and sorry if any bad english) -----------------------------------------------------------------

Both of you, get'cher asses to work! *whipcrack*

Wow, this is tight. Groovy, just the right amount of aggressive, and entertaining. DEM WUBZ. Really great track, love it.

Anger, skepticism, happiness, melancholy, mania, joy, betrayal, bewilderment... Welcome aboard, jooj-dudes! ...and mod-dude!

Whoa cool, 11/8 time signature! Bass and organ sound cool, although quite simple and mechanical. The lead organ comes in and it is playing a super simple melody, while the bass and backing organ continue to do the exact same thing. The drums feel very autopilot. When Joe's sax comes in, it sounds so sweet, and blends gorgeously with the organ. After Joe's sax is finished however, the mix goes back to the same exact bass/organ/drums pattern, with the simple organ lead. I have to say this mix sounds a bit like a Sax Sandwich. I think a lot more development is needed during the bass/organ/drums-only portions of the track. Some more drumming variation and fills might help. You could play that bass pattern with a different instrument and let the bass do something else. You could make the lead writing more interesting, and/or bring in an additional lead. You could have Joe record some more sax or another instrument over the first and last parts of the song. As it stands, those parts of the track (before and after the sax) are just too sparse and underdeveloped. NO (resubmit)

I find the production on this quite good. Synths, guitars, and drums all sound clean, powerful and well separated. My concern with this track is that it is super short and super conservative. The intro lasts all the way until 0:50, which is quite a lot of a 2:05 track. After the intro, the next section instead of being a verse, is almost like a "pre-verse" and doesn't really get going into a proper verse with a lead melody until 1:33. The source melody is played through one quick time, then the song is over. Not nearly enough development. I wanted to panel this anyway, because I feel like the production is very good. I think at least another full minute (or more) could be added to this, exploring the source melody more and doing some soloing, followed by a proper outro. Really very promising, and I hope to hear this again, much more expanded. NO (resubmit)

Contact info: Radeitsu Cory https://soundcloud.com/whowantsalick-1 33625 Submission info: Donkey Kong Country 2: Diddy's Kong Quest Asking Lockjaw Lockjaws's Saga

I'm listening to the "now with less bass" version. The strings are pretty darned dry. Guitars sound good to me, performances are great, mixing is working. Drums sound punchy and tight but could be a teeny bit louder, not too much though. Just the right amount of bass in this version, the other version was just too much. The arrangement is a winner, I hear plenty of source, with good personalization and great original stuff and transitions. Fadeout ending, dammit I really dislike fadeouts. Fadeout = copout, imo. Huh. Regardless of fadeout and dry strings, this is working for me, I like it. Probably need a "now with less fuck in the title" version for the project release, though. (I can't take credit for that joke, it belongs to djp) YES

There's so much to like about this mix! The piano tone is lovely, the playing expressive. The funky bassline is terrific! The cello is a very nice touch, sounds great. I may be alone in this thought, but the clicky kick doesn't seem to quite fit the mood here, I think slightly less click would suit the other instrumentation better, more thump and less click. Not a big deal though, small nitpick and personal preference. Source aplenty, and the track has nice dynamic flow. Love the glitching. Mixing is very good. My only gripe is that even with all the little details and interpretation, the writing still ends up sounding pretty samey, especially since the piano is always the lead, and the chord progressions never change. The little details carry it for me, though. Cool track. edit 2/10/15: Larry is right. That piano line is VERY similar to the original audio, even the backing strings are nearly identical. Even if this has been carefully re-sequenced, it IS too similar. As lovely as this sounds, I'm switching to NO. NO

What an incredibly cool idea to make this song into a western! I love the idea, and those reversed-sounding string notes are very neato, they give a nice eerie feel. The track builds slowly into a really nice groove as it busts out at 1:04. The trumpet bits are fake as heck (and they get too loud) but they seem to fit although they could use some reverb, the dryness makes them stick out more than they should. The guitar also sounds sampled but you've used it well given the limitations of sampled guitar. The lonely sine in the background is terrific. The track has good flow and dynamics and I'm totally onboard... until 2:15. I'm hoping for a super epic beat section, and the track slows way down. I still hear source from 2:15 onward, and it is used quite well actually, but I'm left feeling like this arrangement is disjointed overall, since the first and second halves are so different. Am I being a grandma if I think this arrangement is odd? I'm going with YES for now, I like the track, but I'm interested in other opinions. edit 9/27/14: I've been thinking about this track a lot. I do like it, and I'm getting more used to the arrangement, it is interesting and there IS plenty of source throughout. But I think I have to vote NO for now, the following are my issues: 1. the brass: it's REALLY dry, which makes it's fake nature really exposed. At 1:01, the brass gets really loud, too loud. Smooth out the volume of the brass for the times it appears, and give it some tasteful reverb, and it will fit in better. 2. the guitar: I'm really ok with this sampled guitar, but some better humanizing wouldn't hurt. If you varied velocities and note start times slightly, it would flow more naturally. Small changes will do, don't overdo it. And as with the brass, a bit more reverb will make it fit in better with the soundscape. 3. the drums: Justin is right, they do feel pasted on top. This is mainly due to how they are mixed (too loud and upfront, especially the snare), but it is also partially due to their style being so different from the genre of the track, and partially due to the short section in which they appear. I think mixing them better into the soundscape (quieter and with more reverb to push them backwards) will solve it 90% if not more. The snare is most problematic imo, since it is the most upfront. I like the fact that the drums are so different from the genre... but they need to fit in better with the soundscape so they don't feel like an afterthought. Justin also had some very good advice about building the action (and therefore volume) in a more consistent manner. I also think you could spend some time addressing the reverb of the track overall, making sure the reverb is consistent across the instruments so they sound like they are in the same space generally. Hopefully these fixes aren't too hard to do, because I'm hoping to hear this track back soon! NO (resubmit)

This track is LOUD, a veritable wav sausage. It doesn't quite sound smashed to me, it isn't distorting from what I hear, but it is super loud, giving it very little in the way of dynamics, and it gets fatiguing. I think you can ease off the compression some. I like the instrumentation. I especially like that crunchy bass synth. It competes a bit with the leads, but not too much. With some more breathing room dynamically, it will really shine. I like the idea of the key modulation at 1:06. Other than this though, the track is suuuuuper conservative. The writing and arrangement are basically the same as the source, although the tempo is slowed down a few clicks. I think the instrument changes make up for it, but just barely. It really needs some more writing personalization, or a breakdown somewhere, just something a bit more unique to break it up. I won't call this a midi-rip, but I have my suspicions. At 2:15, the song just ends, with zero resolution other than a reverbed kick. Some kind of writing cool-down or proper resolution would really be welcomed. So, ease off the master compression and add some sort of ending. If you could add a breakdown or original section somewhere, that would REALLY help, but if not, at least hit those other two issues. NO (resubmit)

This song starts out so cool and so strong! I love the plucked instrument (kora?), bass, and background synth. That first scratch is very cool, and the cymbal transitions sound huge and good. The piano and background flutey synth sound really low-end muddy to me, the entire background starting at 0:57 could really use some eq cleanup. The strings at 1:42 could also use a bit of low-end cleanup. The Yun & Yang theme is ever present. I don't really hear where you used Oni's theme (sorry if it is obvious and I missed it), but there is certainly enough Yun & Yang. My biggest gripe is that by the 2 minute mark, I'm waiting for the energy level or instrumentation to change. The drums and bass are going full speed all through the track, super busy along with the leadwork which is often very busy too. The verses and choruses are all just coming at me full speed after 2:00. Even with the interpretation that you've done, the chord progressions never change and it ends up feeling quite samey, making the track feel quite a bit longer than 3:52. One more soft breakdown with minimal drums would make a huge difference methinks, in addition to some eq cleanup. NO (resubmit)

*tries to picture Rexy in halc's shoes* haha! Justin is right about the piano, both about the velocity of the short notes and about the top-heavy tone. But wow, the writing is terrific! Justin is also right about the reverb, it isn't cohesive. Some elements are quite dry, others too wet. The drums in particular could stand to have more reverb glue, possibly using one reverb send and sending the drum elements to it in different amounts. The drum/percussion writing is quite good and varied, especially from 2:53-3:16. Open hat is a touch too loud. The crash sample isn't my favorite. No Justin, "personalization" isn't a judge-only word! But Rexy certainly accomplished some very nice personalization while keeping the source present throughout. YES

Thanks so much Justin for the source breakdown! Source does seem fine. I don't often just blanket-agree with someone else's vote, but Justin nailed it here. The arrangement is really nice, but the production is just too darned busy. Nothing ever gets to take the spotlight. At any point in a track, there should really only be one instrument playing a busy line, while everything else plays softer, smoother lines or blocked chords. Two busy lines together are ok if you're doing a lead plus countermelody, but even so, one melody should be more prominent, generally. You've got lead guitar, rhythm guitars and bass (in addition to the pad) all playing like the devil is chasing them! I'd recommend you go over this arrangement again and determine which instruments should get the most attention at the different points in the track, and calm the other stuff down. I'm also in agreement about that very first melody, when it comes in it should really be upfront and not in the background. Good performances, just needs to be planned out a bit better. NO (resubmit)