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About Rexy

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    3. Very Interested
  • Software - Digital Audio Workstation (DAW)
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    Arrangement & Orchestration
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    Vocals (Death Metal; Female)


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    Beverley Wooff
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  1. Hey there! 2004 is more and more of a hazy time for me, but I suspect Blue Magic tagged the track in advance before sending it into the submissions inbox (as indicated by the instructions back then). And yet, there’s no record of him sending it to OCR, which is odd. The VGMix archive (where Chrono Compendium obtained a fair chunk of coverage back then) has a similarly titled track known as “Tower of Nightmares”, and it’s safe to assume they both are either identical or follow the same principal idea. So I have a feeling you got the track from VGMix when it was active. I hope t
  2. Hey The Dwelling of Duels is an anonymous competition, so it's best that you don't mention what you're arranging outright. Just participate through the DoD as normal, and then when the competition is over, you're more than welcome to submit to OCR's inbox.
  3. There's nothing wrong with a two-textural-variation route, and I can see that with the full-on doom metal vibes (bad pun!) for the first one and a cute non-overdrive breakdown at 1:32 marking the start of the second. However, aside from the textural shaping on the rhythm guitars, the notation is note-for-note, even with the pads doing the same thing. To shake off similarities between leads, try and play the melody with some minor differences, like adding other notes, articulations, and any original lick replacing a written sustained note over 2 bars. Some methods off the top of my head to c
  4. It's not a bad thing to make an arrangement that echoes shades of the old-school trance of the earliest OCR mixposts, but to approach a similarly-styled source like that runs a risk of not having a unique character. You've given it a good go, though. You swapped out the original's bass buildup with a pattern you made yourself, cut out the melody's A section entirely for something more simple, and spent more time on the source quota using the choir build in the intro and the B and C sections to appropriate effect. The choir rise at the source's tail-end also got used well at 2:35 and 4:45, b
  5. I hate to double-post myself, but there is some big news regarding album development. This album trilogy has had a history of collaborating with the Dwelling of Duels, and so, September 2020 is the OC ReMix Crossover FF3 Month! If you main a live instrument, go check it out - if you take part and you decide to send it to OCR's submissions queue, the evaluation will get fast-tracked. Any track from the game can be chosen, though there are still some uncovered spots on the OST (including some not even listed in the OP) that would be nice to have some representation. Talking of which
  6. I'm one of those who felt torn on the arrangement values. Yes, I heard some neat new additions with the bass writing and changing up of percussion/textures/SFX - but underneath all of that, it felt like a borderline MIDI-rip. Thankfully, what I heard of the added bass - particularly during the first minute - complimented the otherwise minimal source notation. The gate effects during the second minute kept the energy moving, too. Though, I don't think the double-time drums at 2:38 were enough to keep the B section's repeats there any different from at 1:19. I'm in favor of seeing if there
  7. Remixer name - Terra Genesis Real name - Billy Barnes User ID - 36712 Game - Super Mario World Arrangement Title - Koopaling’s Castle Name of original arrangement - Castle Theme I’ve always loved this piece of music but wanted to put some extra dark vibes on it by tapping into dark synth/dark techno vibes. This mix was made with serum and the Korg M1 for some of the more organic sounding instruments and some layers from my Korg Minilogue.
  8. Greetings OC team, below the information about my submission. Contact Information: ReMixer Name: powerpilz Submission Information: Name of games: Jazz Jack Rabbit 2 Name of arangement: Power Jam Name of individual songs: Medieval Jam Link to the original song: https://ocremix.org/song/25195 The inspiration behind this track was my personal affection to electronic music, medieval sounds and the combination of them both. I guess it's a great combination which can really be something great. Also I really like to have some humorous style cons
  9. That arrangement is excellent, no doubt about it. The adaptation to a 12/8 time signature over the original's 6/8 completely changed the intended accented beats, which I love a lot as a rhythm buff. The metal-synthwave combo allowed for plenty of additional textures relevant to the genres, and you also added room for a guitar solo between the one run-through of the theme and the return to the source riff in the lead-up to the ending. The intro's slow-down effect is tremendous and built anticipation for the one run-through, but I'm not so sure about the end. I know a particular Black Sabbat
  10. Yeah, VGMix was more of a community rather than a label. I can't speak for everyone who was active there at the time, but any albums spawned from them were primarily original ones from friendly competition. (And yet the only album I can remember from such an endeavor, for obvious reasons, is Gwilym Logan's "The Meinpenis Zeitgeist"...) Either way, the closet thing to an album release from VGMix 2 in particular was the Cave Story Remix Project. It had a lot of faces active there at the time, and a lot of the organization happened through a forum thread But it was never hosted on VGMix
  11. Arrangement-wise, you owned it. You pushed through with two distinct variations with textural and melodic shakeups across both, and the drum writing is very energetic to boot. The breakdown at 2:11 using the banjo backing in the source is also very welcome and paced itself well for the B section's final use. The mixdown is also clean - nothing's clashing tonally, and nothing is poking out of place either. However, I'd have to agree with the gentlemen above regarding the lead guitar's articulation. I checked your video upload on YouTube for any clues, and I learned that you use Impact
  12. Name of primary game arranged - Sonic Adventure 2 (but w/ plenty others) Name of my arrangement - SEGA Space Station Big Dome, 2094 Remixer name - Michael Hudak Hello judges. Me again. VGM Con 2020 just recently ended and it was cool to connect some OCR faces to names. With those good vibes, I wanted to finish this remix up.This piece is heavily inspired by a lot of 90s DJ club sets that I used to listen to in college (on YouTube...I'm not that old!). What better way to do a medley-but-not-a-medley (or a mashup-but-not-a-mashup) of a big handful of 90s and early 2000s SEGA jams
  13. CONTACT INFO ReMixer name: Apollo Merriwether Real name: Robert Cain Jr. Website: apollomerriwether.bandcamp.com User ID: 36707 SUBMISSION INFO Game: Shovel Knight Name of Arrangement: Deep Six Song Arranged: An Underlying Problem (The Lost City) Additional Info:  Composed by Jake Kaufman  Originally released on PC, 3DS, and Wii U, since released on just about everything  Release Date: June 26, 2014 Soundtrack link: https://open.spotify.com/album/0mDSPMGVdWORtoEuxhyMJx?si=R6GpD8NvQ
  14. Real Name- Alexander Burget E-mail- Websites- https://www.soundcloud.com/blinxtunes https://www.facebook.com/blinxtunes User ID- 36749 Game Arranged- Donkey Kong Country Arrangement name- Crunky Kong Original Song Name- Funky's Fugue Game console- Super Nintendo Entertainment System Original composer- David Wise OST- Producer notes- I was actually listening to San Holo's remix of the intro theme to DKC, when inspiration struck. I created 2 remixes from this game, Crunky Kong being the second of the two. I de
  15. Hey, thought I'd chime in with some second judge feedback. I've seen your form letter in the inbox and while I disagree with the minimal source connection - in fact, the bass and synth strings carry it all the way through - I do however understand your critique for the bass connection getting pushed under. Perhaps doubling the bass riff (but not the repeated non-source notes) onto another instrument, preferably an octave higher, can give it another boost. The arrangement structure itself is solid though, going through one variation of the theme with textural variations between similar p
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