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Everything posted by Rexy

  1. For a source that meanders so much, you managed to adapt it well into this alt-rock aesthetic. You opened up with the flute section from the third minute in, adapting it onto the bawu. And then, at 0:39, you went straight into the guitar wall for the rest of the track, going straight through the source while omitting any pauses and changing the chord structure when appropriate - a technique I liked here, considering the BGM relied on a constant drone. Yet, I noticed a lot of auto-pilot going around your writing. First, I saw the main lick (0:39, 1:42, 2:36) sounding identical in all three instances. And then I also noticed that you'd used the same 4-measure drum loop, with the same articulations, copy-pasted almost entirely through the mix. The only times you allowed yourself to break away was to add an extra crash into the main lick or add a fill at 2:33 as a transition. I understand that you're a bedroom producer, but it helps to think from the perspective of someone who would perform drums in real-time. Rather than let the left hand stick with slightly opened hi-hats, experiment with different open and closed tones in addition to other rhythmic cymbals like rides and splashes. Similarly, the right hand and foot wouldn't stick with the same constant patterns either, so it's worth seeing how you can vary their writing depending on the situation - something that can carry over to your bass rhythms and guitar accents as well. There is some brilliance with the production side here. I, too, love what you did with the guitar and bawu sequencing. The articulations and overall tone fooled me into thinking they sounded genuine, which shows that you know what you're doing with virtual instruments! The mixdown doesn't feel as dry as Brad is making it out to be, but I agree that it sounds muddy. You've got your snare, choir pads, bawu, and choice of synth at 2:07, all sharing the same frequency - and it becomes more problematic when you hear at least two of them together. I know a few ways to remedy this. One way is by making EQ cuts to prioritize one instrument over another. Another riskier idea is adding an extra unique pad layer and panning both of them wide, letting your leads stay center without losing definition. And there's something just for the bawu and any other higher-pitched instruments, but it can be worth EQ cutting the reverb itself and letting any wet mix occur on the higher frequencies. Take your time and experiment. It's one track that I enjoyed hearing in the inbox but felt it got its issues regarding autopilot and its muddy presentation. It'll be nice to listen to another version in the future that cuts back on the amount of copy-paste and goes through another mixdown pass. Whatever you decide to do, you've got heaps of potential, and I hope you're able to keep aiming for the front page. NO (resubmit)
  2. It's great to hear that you feel inspired by submitting here! Alas, while the outcome is now a foregone conclusion, I hope you don't feel discouraged from a potential resub or sending new music our way - because there is shining motivation from your work method here. While you do have a lot of the source's writing, there are enough modifications to make it your own. The intro's chord sequence got cut in half and then doubled, rather than going for the full 16-measure stretch. All counter-melodies are gone when bringing in the B section over two different synths. The bass pattern for the C section at 1:09 feels jumpier than the original; the melody personalization at 1:23 is an excellent twist on the familiar piano intro; then you've got 2:19 referencing fragments of the C section with the melody personalization. It's a conservative structure, as you allowed for a run-through of the theme, a return to the C section, and an ease-out ending - but there is enough to make it work on a writing level. However, I do have more problems with the production side. Credit where credit is due, first - a good number of your synths have some nice built-in effects, like arpeggiators, sustains, and the occasional pitch bend. You've made a start with picking out those timbres, but a lot of them would keep that same texture and momentum for most of the track. Have you thought of adding some modulation or setting parameters from inside FLEX as envelopes to change the synth tones on the fly? Both approaches could get used to significant effect and throw in some more excitement into the mix. And then we have the layering aspect as well. Wes already touched upon how you've hardly doubled up any of the synths and especially brought up how the chime at 1:14 sounds so devoid of tone on the higher notes - so feel free to experiment with your gear and see how different instances sound together. I'd also suggest doing the same thing with your drums, as they feel flat and exposed during the breakdowns (1:09 being a glaring example). Some more electronic sounding tones or even some claps could add more power on the high end for your snares. You can also achieve a similar idea on the hi-hats - but if you feel it won't quite work, a simple re-EQ can work to make them sound less buried in the mid-range. Again, hang in there! You've made a good start on your own with the core personalization and sound design. For me, it boils down to me wanting to hear a production/presentation overhaul, particularly with how you shape your synths over time and wanting to see more texture on your percussion. Whatever you decide to do going forward, I hope you've learned some new tricks for that next big step. Keep at it, René. NO
  3. First of all, Kris - this is in English. I can hear some words, but I'll get to that later. Anyway, this approach is charming! The idea of taking a climactic endgame track and turning it into something more solemn is an excellent twist on such an iconic theme. What's even more surprising is that all you needed arrangement-wise were the main riff and the D section, which works well with how you paced the track. That main riff also has had multiple rhythmic transformations, both on your synths and your vocals - plus the welcome surprise of harmonies at 3:41. I wish I could say I had much to nitpick on the writing at this point, but clearly, I don't - so way to define a direction. Alas, the production qualities are the main things that are bringing this down at the moment. I'm not as fussed over with the dynamic split as Brad is, as those quiet sections are needed to break away from the energy from the main vocal segments. But the vocals do sound not only louder than the rest of the parts, but they're also really muddy and stuffy - which explains why it's hard to identify consonants and entire words. There's also not much emphasis on the mid-highs in your mixdown, which would be ideal for bringing out your consonants and give the vocals more clarity. The mix itself doesn't sound as dry as Greg pointed out, but I feel some high-passed reverb instances on the voice and e-piano can help them fit more naturally with the other processed parts. The same can't get done to the taiko drums as they're the only source of percussion, but a slight volume boost and close-up on the virtual mic (if there is one) can make it sound not as soft in the mix. It's a creative idea and one that I loved the concept from the inbox, but what's hindering it at the moment is needing reverb tweaks and another mixdown pass, with the vocals being the primary carrier of both flaws. The pair of you have sent in something very unique, so I hope you've still got the project files to take this the rest of the way. Keep at it. NO (resubmit)
  4. When I first heard this in the inbox, I was blown away by your creative writing on display. It's not easy to transfer source material into a different mode or time signature, but to do both simultaneously shows that you clearly understand the transformative part of OCR submissions to a tee. The structure I sensed was essentially one run-through of Haunted Chase, the C section of Creepy Castle, then back into Haunted Chase with a key change - mostly simple to follow. Sacrificing the D sections of Haunted Chase for a more original transition into E (0:31-0:41, 1:46-1:56) did cut recognisability down, but luckily not enough to tamper with source dominance. Of course, I had been back and forth on this one based on the instrumentation. Yes, the samples aren't brilliant, but you did make great use of articulations, particularly on your brass and strings, so that helps. It's also a clean mix, all things considered - though I noticed in one of my visualizers that there are no EQ cuts in the sub-frequencies. That's a smart move, as I felt you utilized to bring the best out of your kick drum and tuba. But talking of the drums, if there's anything that needed re-shaping before this mix goes live, it has to be that. Brad already touched upon simplicity being a thing for polka grooves, while Larry also brought up its robotic programming and the volume compared to the other instruments. But I also want to add that the hi-hat is absent for some reason - which is a mistake in writing for an organic setup, as a drum groove groove usually has some kind of pulse on the non-snare hand. With the core groove being too simplified, it is unfortunately too big a dealbreaker to consider getting it on the site just yet. I hope you've still got your project file, as it'll be fantastic if you're able to home in and articulate/humanize it. It's also essential to add more depth to its writing, whether adding in the missing hi-hat, fills, or anything else in the depths of your imagination. I hope you'll provide us with a newer version - if anyone has the potential to be OCR's version of Weird Al, it is you. NO (resubmit)
  5. Submission game: Secret of Mana song: The Holy Intruder composer: Hiroki Kikuta remix title: National Scar Artist Info remixer name: Dj Orange forum userid : 3683 real name: Geoff Harding comments: :O)
  6. Artist Information Artist Name: Jakob Coltmyre Real Name: Jared Clifton Email: Website: https://soundcloud.com/jaycolt User ID: JColtmyre Song Information Game: Dr. Mario (NES) Arrangement: Chill Pill Original Song Title: Chill Chill Theme Original: Comments: Coincidentally, I had noticed a surge in various of my family members playing the old NES Dr. Mario game lately. It got me thinking that what I remember most about this game is the music. When I was 13, I recorded the Chill theme onto my old computer directly from an original black and white Gameboy with an aux cable plugged into the headphone port of the gameboy. I still have that recording! I used to love that song, still do! I would listen to it with headphones and loved how all the melodies fit together, each one becoming the center if you focus on it, but blending so smoothly when you view it as a whole. It was my OC-remix-loving brother who, upon showing a group of us some OC remixes, I asked if anyone had done a remix of the old Chill theme from Dr. Mario. He didn’t recall any, so I accepted responsibility. On a musical note (no pun intended), if you know what mode mixture means - you might begin to understand something. I thought this would be easy-peasy lemon-vitamin-juicy-squeezy. I played it in C on the piano, playing simple chords, but I was playing it wrong. The original theme had so much mode mixture that it was hard for me, a novice, to find the right chords and counter-melodies when I started in Ableton. That said, I’m proud of what I accomplished; it keeps the spirit alive while making worthy contributions to the original. Thank you for taking the time to vibe with me! -JC Key: C-wtfian BPM: 120 MASTERED: 03/05/21
  7. Original Website https://m.youtube.com/user/Audiomancer/videos My remixer name is audiomancer, and the name of this remix is Three is a Crowd. It's a remix of the second walkabout theme from Dragon Warrior 2. I made this on my phone using an app called Caustic 3. I really like how it turned out; it makes me think of Amiga MOD tracker music, so I went with it. Thanks for your consideration. Respectfully, Audiomancer.
  8. This starts out with the moody intro of castle center and then transitions into the more driving melody of dracula's castle. I tried to make it feel like you were approaching the castle itself, and then entered in all it's evil majesty. Suddenly, monsters surround you from all sides and it's time to DANCE! Is your footwork strong enough to SLAY and take you all the way to the top of the castle to finally face Disco Dracula? Artist is OA
  9. ReMixer name: bsolmaz13 Name of game: Thunder Force V Name of arrangement: Enter Vambrace Name of song arranged: Steel of Destiny Comments: Thunder Force V has some incredible music and I thought I'd give it some love by remixing one of my favourite tracks in the game. The original Steel of Destiny has an amazing transcendent feel to it as you're leaving Earth's atmosphere while changing into starfighter 'Vambrace'. I tried to mix it up by giving the remix a driving rhythm and strong beat. It's something short and sweet where it still has the same transcendent feel, only now it's slower, moodier and grittier. Perfect for taking on the entire Sword Fleet.
  10. Games Arranged: Donkey Kong Country 2, Donkey Kong 64 Arrangement Name: Bavarian Kackle Individual Tracks: Haunted Chase (Super Nintendo, David Wise) Creepy Castle (Nintendo 64, Grant Kirkhope) Original Tracks: Comments: This my first submission to the site so I figure I'd submit my most crazed remix I've ever done. Haunted Chase in the style of a Bavarian polka. Normally these 2 things shouldn't belong together in a sentance...but somehow I made it so. As to WHY? I have no idea. I made it my mission to arrange my remixes in the polar opposite genre they were originally in. The main motif is David Wise's Haunted chase (played as normal in the beginning), warped to a major key (I cannot begin to tell you how difficult that was...) and polkafied into Oktoberfest oblivion. Because let's face it: We need more Polka. I also threw in Grant Kirkhope's Creepy Castle in the same way (and WAY easier to put in a Major Key). To top that off, I made a music video using puppets (That I built)...If you wish to see this lunacy feel free to. (Note the mix in the video is NOT the recent mix in terms of quality. The track attached is the HQ file. I also have it in WAV if desired) The final Mix was mastered by Mix Engineer Luis Vasquez: https://twitter.com/luisvasqmusic So credit to him for the mixing/mastering. Arrangement is by me of course. Speaking of, here is my contact info. Remixer Name: General Grunt Real Name: Chris Addolorato Email: Website: https://www.youtube.com/c/TransfatylvaniaFilms Forum ID: 16156 I look forward to the horrified reactions to a truly unnecessary contribution to humanity...
  11. RebeccaETripp Rebecca Tripp http://www.crystalechosound.com/ ID: 48262 Game(s): Ocarina of Time Song Title: Voice of Din Songs Remixed: Chamber of Sages This is another track that was made for my Legend of Zelda inspired audio drama, "Lamp of Destiny". You can find the drama here: https://www.youtube.com/playlist?list=PLhsnNwoLVWWN0Ietx6W21aE-Jgn81geaY It's also just a remix of the "Chamber of Sages" theme used throughout the series. It also has some references to the Fire Temple from Ocarina of Time.
  12. Dear Judges at OCRemix, heres is my new submission. Hope you like it! Contact Info Remixer & real Name: Chris Kohler Email: Website: chriskohler.net Userid: 34798 Submission Info: Game: https://ocremix.org/game/635/pokemon-diamond-version-nds Name of arrangement: Where It All Began Original Song: The Pokemon Lab Link to Original: Best wishes, Chris
  13. Contact Information Your Remixer Name: PolygonJohn Your real name: John Johnson Your email address: Submission Information Name of game(s) arranged: Super Mario World 2: Yoshi's Island Name of arrangement: Chill Times in the Garden Name of individual song(s) arranged: Flower Garden Theme The main inspiration behind this one is honestly just a drive to work with the Yoshi's Island sound track. It's one of my favorite game OSTs. In addition, I wanted something to challenge myself a little bit in terms of putting live recordings into a project, as I've always relied a lot on samples and MIDI maps. Thanks for considering me!
  14. Hello, a new submission for OCR. (less than 10 years between them, this time ). Stuff: Your ReMixer name: tibone Your real name: Juliano Flores Your email address: Your website: http://www.classicgames.com.br Name of game(s) arranged: Pokémon Gold/Silver Name of arrangement: Beacon of Hope Name of individual song(s) arranged: Olivine Lighthouse Artists involved: tibone About the song: I created this arrangement for the Pixel-Mixers Pokémon Gen 2 album "Catch This", i started with the idea of avoiding the obviously eastern/arabic feel of the original track and trying to make it something very different. First part i arranged was actually the classical guitar part that comes later on, I know it kinda feels like a mish-mash of genres at first, but i tried to make it work by spilling a bit of elements from one genre to the next. Hopefully you'll enjoy it too. Cheers! -- Juliano "tibonev" F.
  15. ReMixer Name: Cory Johnson Real Name: Cory Johnson Email: Website: coryvgm.com Forum UserID: 37245 Name of Game: StarCraft Name of Arrangement: Creep Colony Name of individual song arranged: Zerg Theme 2 Game Page: https://ocremix.org/game/220/starcraft-win I feel like it's usually Terran music that gets most of the attention when people cover this game, but Zerg and Protoss have some of the best, moody, ambient tracks in the series. That also makes it more of a challenge to cover, so I took that challenge. This was originally recorded for Dwelling of Duels's August 2019 "Free Month" and later released on my Dwelling of Duels entry compilation album called "Duels" in 2020.
  16. Remixer & Real Name: Michael Hudak Game Arranged: Tales of Symphonia Name of ReMix: Perfect Day Song Arranged: Dry Trail (wow, what a boring title) Link to Original: Hello judges, hope you're feelin' fine. I've been obsessed with bass arps for years now, with finding cool sounds and writing parts for them. I have a ton of remixes in the synthwave-ish style of this one, but most I don't do anything with. With this ToS submission, I wrote a busy bass part first, and tried to wrap the rest of the song around it. Maybe a risky move to not have anything panned center for over a minute other than bass and drums, but it allowed me to really dig into the bass with multiband processing; mono subs, very small width lows, distortion on the mids and chorus on the highs. Hopefully it's interesting enough to not have the center sound too empty with everything else panned fairly far apart during the first buildup. Some of the white noise distortion on the snare crackles out now and again, but I feel like it's a nice touch, and not too distracting. As I tend to do, I arranged it like an 80s dance track, but treated it like a rock song in terms of panning and compression, because I think it's fun to replace guitars with plucks, and big airy chord stabs as crash cymbals (the intro has the synth plucking panned right but the reverb panned left, which is something Jimmy Page and Eddie Van Halen did a lot with their guitars). Little bit of real guitar at the end, though. Mid-side processing to *really* open it up, which gives space for all the reverb to move around. Chords and melody are mostly the same as the original. "Perfect Day"...you can rarely predict when they happen, and when they do, you don't want to them end. They come and go almost in a flash. Like this song, in my mind. What was a perfect day you had? Thanks, as always. = Michael =
  17. Hello, my brother and I have recently created a new remix based on the main theme of Megalovania from Undertale. We would love to see our song on your website. Contact Information Your ReMixer name: Ziomeker Ziom and Marek K. Drzewiecki Your email address: Your website: mkdmusic.com Submission Information Name of game(s) arranged: Undertale Name of arrangement: You Have chosen Name of individual song(s) arranged: Megalovania Best regards! Marek Drzewiecki ----------------- mkdmusic.com
  18. Hi. Here’s my latest submission. Hope you like it. It’s a remix of the two temple themes from »The Legend of Zelda – The Adventure of Link« enclosed by the »Lost Woods«-theme from »The Legend of Zelda – Breath of the Wild« Contact Information Your ReMixer name: Gaspode Your real name: Peter Köller Your email address: Your website: – Your userid: 26608 Submission Information Name of game(s) arranged: »The Legend of Zelda – The Adventure of Link« »The Legend of Zelda – Breath of the Wild« Name of arrangement: Secret Labyrinths Name of individual song(s) arranged: »Temple« and »Great Temple« from »The Adventure of Link« »Lost Woods« from »Breath of the Wild« Additional information: Zelda, NES, Music by Akito Nakatsuka Zelda, Switch, Music by Yasuaki Iwata & Manaka Kataoka Link to the original soundtrack: Bye, Peter (Gaspode)
  19. Genesis1983 Gavin Lee 36629-genesis1983 Streets Of Rage Moon Synth Beach 83' Streets of Rage 1 Moon beach Originally composed by Yuzo Koshiro I grew up in the 80s and as such came into the 90s playing video games as a teenager, i remember the first time playing Streets of Rage on the Sega Megadrive and a friends house and the Moon beach level music being just became stuck in my head constantly, it made me think of sleazy 80s summers in california or miami and being a badass walking down the street with my jeans, sneakers and leather jacket on kicking ass. I've always wanted to do a basic synthwave remix of this track for nostalgia reasons and I feel happy with the outcome considering I'm not a musician. Hopefully you will consider this track as a submission. Thanks in advance Genesis1983
  20. Link Hi, Here's my submission of a track from Valkyrie Profile 2: Submission information: Game: Valkyrie Profile 2 Arrangement Name: Inside the Gate Song arranged: A Thoughtful Strategy Contact information: ReMixer name: infinitytone Real name: Karol Kosacki Email address: charles@infinitytone.com Website: https://www.youtube.com/infinitytone userid: 34463 Additional info: This track is part of "Nibelung Valesti", a tribute to the Valkyrie Profile series by Pixel Mixers. Hope you have fun listening and have a great week! Best regards, --- Karol (Charles) Kosacki | Infinity Tone https://www.youtube.com/c/infinitytone http://infinitytone.com
  21. Submission game: Secret of Mana song: Rose and Ghost composer: Hiroki Kikuta remix title: Dry Towns Artist Info remixer name: Dj Orange forum userid : 3683 real name: Geoff Harding comments: ...
  22. RebeccaETripp Rebecca Tripp http://www.crystalechosound.com/ ID: 48262 Game(s): Skyward Sword Song Title: Waters of Enlightenment Songs Remixed: Ancient Cistern
  23. Remixer name: Bluelighter (ID 21840) Real Name: Guillaume SAUMANDE Mail: Game & Songs: Muppets RaceMania & Funfair and Museum Composer: Andy BLYTHE and Marten JOUSTRA https://www.blythe-joustra.com Hi OCR, Here is an electro arrangement of two themes of Muppets RaceMania. This game contributed a lot to my interest in video game music. Played by a real jazz band, this OST is funny and well represents Muppets' universe! Original pieces were yet well produced (with a real band player). An arrangement in orchestral style or piano would not have been adapted IMO. So I've tried another way, occasion to make sthg different from my usual works on OCR. More than electro sonorities, I've used some orchestral elements (brass and timpani). But it's in background, I didn't want to split me in too much styles. A soft intro announces the main melody and the rhythm in progression. After a transition at pt2, the main melody of funfair is played from part 3 to part 5, with a more marked rhythm. At part 6, I introduced museum theme. The original tempo was quicker than Funfair. So I've rethought the rhythm of the melody. At part 8 and 9, return to the funfair theme (with introducing of the chromatic scale that makes the identity of the original track IMO). Part 10 is the natural following of the funfair theme with ML3 (cf. breackdown). But I realized it well married with ML7 of Museum theme, with similar harmonies. So, I've used these two melodic lines. After, there is a repetition of funfair theme more developed. The mix concludes by the outro, similar to the intro. Enjoy Guillaume Originals Funfair 0'00 intro - Melodic Line 0 0'04 ML1 0'18 ML2 0'33 ML3 0'48 ML4 1'01 ML1 1'40 ML1 + ML4 Gallery 0'00 ML5 0'25 ML6 0'48 ML7 1'10 variations Breakdown 0'00 Intro 0'25 Melodic line 0 0'30 ML1 0'44 ML2 + synthe impro 0'59 ML3 1'16 ML5 1'30 ML5 + ML6 (ML1 in background) 1'45 ML0 1'51 ML2 + ML4 2'06 ML3 + ML7 2'22 ML1 + ML2 + ML4 2'37 outro
  24. Contact Information ReMixer name: SilverFox Jams Real name: Marianne Markham Email address: Website: I don’t have an up-to-date website of my own, but I frequently upload a lot the music I create at https://soundcloud.com/sfjmusic; both original and remix arrangements. I also upload and share my music on the Newgrounds site at https://silverfoxjams.newgrounds.com/ OC Remix Forum User ID Number: 31871 Submission Information Name of game arranged: Darius Twin Name of the game’s original arrangement: Narukini Name of remixed arrangement: Narukinians at War Extra information about the game: Super Nintendo (SNES) game, a spaceship shooter 2D side scroller, published in 1991, developed by Taito. The game music was composed by Hisayoshi Ogura and Shizuo Aizawa. Link to the original game soundtrack from the archives on the OC Remix website: https://ocremix.org/chip/6407 My Commentary About This Remix I was inspired to create this remix, soon after getting a good Newgrounds.com review on my first Darius Twin Remix; of the main boss theme. I titled the remix “Killer Hijia.” It’s a cool listen in my opinion. It’s available to listen to on my SoundCloud and Newgrounds pages. The track has an alarm siren, with reverbing my own voice as a combat commander’s voice while putting in a male robot voiceover part for the pilot’s lines for the very beginning. However, I’m going to eventually maybe redo the remix, since I went overboard in places in the composition. “Killer Hijia” was just not good enough to submit to OC Remix! This one, “Narukinians at War”, is better put together, well paced, and mixed better. In fact, I think it sounds better than the original. I’d consider this both a remix and remake. I surprisingly got this done within about a week, instead of a month as it usually goes! Maybe because it's just easier to compose a track on Rytmik Ultimate than on Acid Pro. I'm not sure, but I know I was very picky about the lead melody, the brass and male vocal harmonies, and the drums. (I couldn't imagine straying from those military sounding beats.) The gritty, distorted and growly basslines weren't too tricky to figure out. Keeping a reference video of the original music track open also helped some in laying out the basic structure of the composition. I remember the brass part and the main lead by memory for the most part. When I was a kid, I played those two together on a Casio keyboard. Although it never hurt to double check! Around the middle of this track, the second time the more original framework from the original Narukini theme starts, I mouthed out a "wow" when I came up with the arp melody to go with that bass! I think that sounds amazing! I've surprised myself when constructing and inserting my own melodies to go with the original ones. I didn't want to stray too far from the original energy and heart of the song. I just could not do it with this track. It wouldn't have felt right. Professional style mixing is one of the things I enjoy the most about Rytmik; the easy to use volume and panning adjustments. Towards the end, it was very cool and fun to just mix things up apart from the first and second rounds of the original game music’s structure. I love this track to bits, and I find this one to be great enough to upload onto the Overclocked Remix website. I'm excited about it.
  25. ardklaw Arden Klawitter www.ardklaw.com 36349 SaGa Frontier "Crime Boss Nomad" Booby Trap I chose to remix this track because I think it's an awesome composition and the SaGa Frontier soundtrack doesn't often get remixed as far as I can tell. The original composition is really groovy, and I wanted to expand the arrangement and make it even groovier.
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