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Everything posted by Rexy

  1. Contact Information Your ReMixer name - glenji2k4 Your real name - Glenn Murawski Your email address - Your website - gmmtunes.com Your userid (number, not name) on our forums, found by viewing your forum profile - couldn't find this Submission Information Name of game(s) arranged - Legend of Mana Name of arrangement - A World Unknown Name of individual song(s) arranged - World of Mana Additional information about game including c
  2. Hatsune Miku singing "When The Joy Meets The LIfe" Your ReMixer name: darkhunterc7 Your real name: Dark Hunter Your email address: Your website: https://youtube.com/darkhunterc7 Your userid: 37166 -Name of game(s) arranged: Donkey Kong Country 2 -Name of arrangement: When The Joy Meets The Life -Name of individual song(s) arranged: Stickerbrush Symphony (Brambles) -Additional information about game including composer, system, etc: System: SNES
  3. Hello OCR team! I'd like to submit an arrangement from a quite popular theme. ReMixer name: JavitoVk Name of game(s) arranged: Sonic the Hedgehog 2 Name of arrangement: Drilling Oil Name of individual song(s) arranged: Oil Ocean Zone I wanted to make a song close to the original, but a lot heavier in sound, so I got some real warehouse sounds and mixed them with heavy synth music and strong percussion to create an "industrial environment". The soft part of the mix it's a bit funky too. I hope you like it! Ja
  4. Hello! Here's a full-band rock/metal cover I released this week of the ultra-catchy "Password" song from Mega Man 2. The entire MM2 soundtrack is great, but for some reason this little jingle always stood out to me the most. The source material is just a short loop under 10 seconds long, so I've added some structure to the arrangement and added my own guitar solo as well. My name is Kyle Schaefer, my band/solo project is called Archaeologist, and my forum ID is 35718. Here are some links to my website and Facebook page: https://archaeologist.bandcamp.com/ https://www.
  5. Much like Schala's theme itself, this track is simple in its overall design and utilizes source components to create a composition that doesn't outstay its welcome. All melodies got used straight yet personalized within this mesmerizing EDM setup, with the CT and Gato themes getting their respective appropriate roles as closure and breaks. I love how there are moments aplenty where that familiar arpeggio got used on two separate instruments with one instance running at double-time - they both naturally gelled to me. I would've wanted more moments where the drums did the filling in and trans
  6. Yeah, source usage was never a problem, to begin with - and adapting it to an unusual time signature drew my attention on first listen. The adaptation had a lot going for it right out of the gate - fitting the opening piano riff to establish an early groove, then the A section's melody at 0:44 and letting it shift among the soundscape. It relied on manipulated direct audio for 13 seconds at 1:13, which I can put aside as it's very brief - then building up more of the groove via variations on that intro riff. The break at 1:54 was welcome, allowing the bells to bring in the B section within
  7. Larry got the approach analysis spot on - it was more of a case of breaking down the different patterns in the source, then using them in a unique build altogether. I was a little concerned when from 0:29-1:29, I didn't hear any of those source fragments at all - but from that point, the motifs became way more recognizable and dominant. The intro allowed a modified arpeggio from the A section to lead into the beat-building area at 0:29 - a role to play in the track despite no source use. That beat-builder section leads into a breakdown and the first appearance of the original bass riff.
  8. I'm afraid I'd have to disagree with Brad regarding interpretation - it deserves a lot more credit for what it set out to do. Everything that wasn't a melody or a chord sequence got thrown out of the window, not leaving much room for interpretation. It's a simple structure - bookends with the A section, with the two B section melodies having the second half of A attached to the end plus a callback in the ending. These segments have brief original performance transitions between them, utilizing arpeggios (0:35), scale descents (1:13), and delicate rubato passages (1:49). The realization on
  9. Your selection of segments to interpret seems interesting - you based the entire groove based on its B and D sections, only going into the A section at 4:02 while closing out. You kept the textural shaping varied throughout, with the hard side-chain intro, the established four-on-the-floor groove at 0:34, the calm at 1:25, the fast pushing kicks in the pad-heavy section at 1:43, the drop to the kick drum and whole-note bass at 2:34, the closure from 2:51 onwards reprising the intro, and the calm piano wind-down ending from 4:02. This track relies more on backing arrangement and pattern shapi
  10. Oh, I agree with Wes here for sure. When I heard the track via the inbox, I looked out for all criticisms I wanted to see get addressed. I detected the more varied beats and fills, some new synths with some fantastic modulations that shape their way through the mix, and a considerable cleanup effort that brought out your backing parts more. Not only did my main issues get checked there, but you threw in that bonus of the tempo shift at the end! I wasn't expecting my silly comment about making the ending sound more like "War Pigs" like you intended to get looked at, but that alone flat out
  11. Hello, I am submitting an original remix mashup of Chrono Trigger. I’m titling this “Zeal”. The style is melodic progressive house and is a mashup of several Chrono Trigger Songs, mainly Schala’s and Crono’s theme, with Gato’s theme as a lick. I started producing about 4 months ago and I’ve been loving it so far. I have several inspirations, but this remix was inspired by my love for melodic and progressive house music. This song takes you on a slow, progressive, and melodic journey that eventually builds up to an epic end. One of my goals is to make videogame remixes with EDM e
  12. The production values are indeed lovely - with a well-performed violin part, powerful articulations on the backing parts, and careful attention to the levels and dynamics. The mastering direction feels crisp and clear but a touch heavy on the high shelf and making it feel stuffy. As long as I can hear the part-writing, it's all fine. As Brad pointed out, the similarities in style, chord progressions and pacing make the arrangement way too problematic in comparison. The structure going from source to source like this doesn't help things either, as it hardly leaves room for further inter
  13. Original Decision Contact Info: ReMixer name : Schneider Souza Real name : Schneider Ferreira Reis de Souza email address : Website : https://www.youtube.com/user/SchneiderSouza / schneidersouza.com UserID: 36702 Submission Information: Name of game: Chrono Trigger Name of arrangement : The Journey to the Darkest Depths Name of individual song(s): Ocean Palace ( or Undersea palace) All th
  14. Hey, glad to hear you've been re-inspired! And I promise we collectively will be more considerate than at your last sub. I feel your confidence in the source's presentation, handled so that no section repeats ideas aside from the bookends, making the scope significantly ambitious. You've got: Bars 3 and 4 of melody B getting brought into half-time on the piano at 0:29 and 5:49 Using melody A as a repeating arpeggio pattern throughout with the core component from 1:08 and its last bar from 1:45 Use of melody B's defining hook at 2:29 both for the high energy segment an
  15. RebeccaETripp Rebecca Tripp http://www.crystalechosound.com/ ID: 48262 Game(s): FF5 Song Title: A Dream of Home Songs Remixed: Distant Homeland
  16. Hi, this is my first submission in ages. Below you will find all the info about me and the remix. Sincerely, Tobias Nylin ----------------------------------------------- Contact Information ReMixer name: Tab Newflax Real name: Tobias Nylin Email address: Website: https://www.tobiasnylin.com/ Userid: 2108 Submission Information Name of game(s) arranged: Mega Man 2 Name of arrangement: Heat Up (Twelve Thousand Degrees) Name of individual song(s) arranged: Heat Man Comments about the mix:
  17. Yeah, I heard that the USPS got jammed up over the holidays. Unless you've marked it for tracking, I don't know of any other way you could check and see if it's moving along the system D:
  18. I don't mind the pacing of the intro. It uses the arpeggio in Cossack 2's opening over a layer build, making it fair enough to engage itself steadily. When the intro's melody hits at 0:29, the sources' leads stay consistent throughout, making source usage a non-issue. It's mostly Cossack 2, with Cossack 1 making a straight appearance at 1:21 and making sparse cameo appearances in the final Cossack 2 A section run from 2:16 onwards. While I would've liked to have heard more experimentation with the melodies beyond your synth articulations, it at least served itself well to present both sour
  19. I've been going back and forth on this one for some time. The main reason behind it is indeed the major elephant in the room - the sound design. The higher-end orchestration sounds as lush and lovely as I expect from you, with each of them having their delicate balance and stereo space in the mix. However, you said that many of your woodwinds are from old Roland VSTs that call back to the PS1 era. I can't fault the tone and decision for utilizing them at all. But there could've been a less uncanny use for them other than using them as leads for most of the track, especially considering the
  20. I felt unsure about the arrangement on my first listen, but I understood the evolution through repeated listens. The first run-through had an excellent tempo ascent in the first half, along with some sweet varied drumming that kept up the pace and varied between rhythm types. The second loop with the first guitar solo is no slouch either, and kept up the textural variation with the denser rhythm guitar rhythms and more frantic drums, eventually leading to blast beats at 1:53. The third loop also ran a risk of copy-pasta thanks to the return of the blast beats in the B section at 2:41, but i
  21. I agree regarding the arrangement - of all submissions I had heard from you, Jean-Marc, it's among one of your most developed yet. You started with the recurring synth pattern in the source's B section for the intro, went straight through one loop while cutting all segments in half, then handled full versions of the A and B sections while also bringing in a rhythm guitar and lead guitar harmonies for the latter. You then had guitar improvs from 2:14 onward while using the B section's melodic fragments on your orchestration to anchor source use, handling a full loop from 3:04 starting with th
  22. On the production side, I've seen a lot of improvements in your presentation and articulations. The percussion sounds as lush as always, and while the legato shaping on your woodwinds and strings aren't perfect, they do feel considerably less stiff, particularly with the note durations. The instruments themselves have been presented adequately enough, with some minor concern of bleeding between the bass drum and pizzicato strings generating the low-end pulse. Yet, I noticed that leading in and out of the theme, the wind SFX felt boomier than they needed to be and left behind this flossy mi
  23. I agree with Joel regarding the warm sound on the acoustic guitar. Solo instruments are never easy to present yourself, but here, the tone and attacks paid off and allowed me to hear each string as they got used. The recording quality feels clean, and the performance feels raw and human, with only some minor hesitations in your execution. I would've wanted much smoother transitions in and out of the FF7 main theme at 2:58, particularly with your chord progression, but I understand that was from you following the tab along. As for the arrangement itself, it's got the theme usage with so
  24. RebeccaETripp Rebecca Tripp http://www.crystalechosound.com/ ID: 48262 Game(s): BotW Song Title: Queen of the Sandstorm Songs Remixed: Gerudo Town PS: I know the outro is pretty long and meandering (I wanted it that way) but I’m willing to cut it to about 3:45 if you guys feel that the outro is a dealbreaker.
  25. Remixer Name: Marc Chemali Real Name: Marc Chemali website: https://marcchemali.bandcamp.com/releases userid: marcchemali Name of game arranged: Deus Ex (2000) Name of arrangement: Rebooted Name of original: UNATCO Original soundtrack link: Comments on mix: My intention was to make it as theme-centric as possible - give it a little bit more drama but still keeping it very natural and electronic. I gave it my particular human feel to play. I could see how putting different sections together would create a big section.
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