Rexy

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=R6GpD8NvQDqZ0svvJQxMkQ Comments:  I’m a huge fan of Jake Kaufman’s work, especially his take on the Ducktales soundtrack for the Ducktales remake; the Lost City track is a favorite of mine and I decided to have a shot at giving it a Jake Kaufman treatment myself, “modernizing” it while including sampling the original work in tandem with my sounds, keeping it close enough to the source material to feel at home in a remaster but still maintaining my own ouvre. I’m pretty happy with this one. ~ Apollo

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 decided that this song would be a bit better to submit, due to it's higher quality production, and it's differentiation from the original song. Hope you enjoy, and have a great day!

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 parts - even with a fun solo for the last minute. For what it's worth, the transformations are reasonable, though as mentioned, layering your parts can help bring out the source more. Addressing the other production crits - sample quality here spawns more from your individual instruments sounding like they've only got one VST per part, meaning leaving an exposed impression on the mastering. It is possible to import non-Propellerhead VSTs into Reason whether you decide to invest in some or find some freebies, and it's not impossible to get a mixpost done with just the defaults (but it takes a lot more work). Whatever direction you go in, if the sample itself doesn't have more than one layer, it's best to layer it with some other sounds. Like, if you want a bass to have more sub-bass, find something that has a square or triangle tone and cut all frequencies above the highest note your bass ever plays. If you want more air in a synth, use a harsher saw tone and cut all frequencies from the lowest note the synth plays. Here is a chart with every frequency on all notes on an 88 key piano - that should help with figuring out where to make cuts. Another way to give your instruments life is to take a look at envelopes. Bear with me, as it's been years since I've last used Reason for anything - but I believe you can set envelopes for certain parameters within a VST, and not just volume and panning. You could use it to manipulate cutoff, resonance, modulation, the wet mix of an external effect, or even bending the pitch if you want to get that creative. It would make your synth solo sound more like a lively synth rather than something that gets tapped multiple times a second. And let's go back to the last statement you received - the "needless sizzle", or the mastering being way too bright. If you air the track in a music player that has a visualizer, you can see that the higher frequencies are pushing as hard as the bass and low-mids, which isn't normal. Higher-pitched instruments are there to add some sheen, but definitely not too much. Assuming Reason comes with a decent EQ plugin, it's best to make mid-high EQ cuts from instruments that don't benefit from it (bass, lower synths, strings) and let those higher-pitched instruments just shimmer. If the problem still persists, consider bringing down the volume for your hi-hat, cymbals, bells and rhythm parts in that range. Anyway, I hope these critiques can help you out. It's frustrating to push yourself so hard and get a DR, but don't lose heart over it. The fact here is that you're willing to improve yourself, and whether you decide to refine this track or work on another, it'll be cool to hear from you in the inbox again. Keep at it x)

Contact Information ReMixer name: Reuben Spiers Real Name: Reuben Spiers E-Mail: Submission Information Game: Digimon World Name of Arrangement: FAT32 At Night Name of Original Song: File City (Night) Ft. Kain White on kalimba, shakers, and most importantly, triangle.

You're not wrong with "Bloody Tears" getting various approaches, so I can understand why you went for a more subdued direction. Echoing what Larry and Jive had already said, the arrangement structure checks out - three textural variations, with the bookends at full strength and the middle one at 2:00 taking a quieter direction. Despite the stiff timings across your parts, the choices of velocities and articulations are solid, though I would've wanted the string lead at 0:47 to have a faster attack so it could cut through the mix more. The mixdown also leaves much to be desired. While I appreciate the idea of dynamic contrast, it's an issue when the louder parts hit the limiter's... well, limit - partially forming a sausage at the bookends. And then there's the softer part from 1:48, and as Larry pointed out, that section is quieter than it needs to be. A quieter mixdown with less limiter hugging would harm the middle section more - so it'll make more sense to go over the layers, and see if any could get removed so other parts can push through. Only then can you consider the idea of master automation to bring the dynamics that pinch closer together. It's not a bad effort, Alex, and I'm in favor of your arrangement ideas. The orchestration isn't a dealbreaker, but the squashed mixing is. It'll be nice to hear another version with a mixing and mastering revision. NO (resubmit)

Arrangement-wise, it's a simple run where the textures are very close to the original - though it's nice to hear your unique additions with some other woodwinds and strings lightening up the palette. The swing rhythm on the source is a bouncy triplet rhythm; meanwhile, you decided to opt for a hard swing - i.e., bringing the swung note closer to a 16th. This modification works well with the slow nature of the backing instruments against the melody, but not including a couple of phrases in the B sections keeping the original triplet feel and not getting adapted. As neither swing pattern overlap, I'm afraid I have to disagree with Wes on it sounding "awkward." However, this pacing has also exposed some very rigid sequencing on the e-piano. That instrument has no random overlaps, no variations in note length imperfections, and all timings are dead on the beat. If you have a MIDI keyboard, that problem can quickly get resolved with a live performance. Otherwise, it would need a lot more work to humanize, as articulations on keys rely on velocity and timings alone. The mastering is also a quiet one. Yes, it peaks at -1.8dB, but only on the left speaker and during the third textural variation. The main reasoning for this one is simply because of the e-piano's placement in the stereo field. Because it assumes its role as a melody and bass instrument, it should get moved closer to the center. Otherwise, -8.5 for the rest of the track is still light, so a volume boost overall would be good. While I also appreciate the sparse instrument writing, that does leave a lot more room for some of your instruments to take more prominence in empty frequencies. Hence, Wes's criticism for the e-piano needing more bite makes sense, as the parts occupying the mid-highs aren't powerful enough to carry that frequency by themselves. It's a cute take overall, and one where the arrangement is barely passable - but the e-piano has issues with both sequencing and its sound design, and the usual low volume problem persists. If you can do another pass on the mixdown, I'm all for checking it out again. NO (resubmit)

If the track passes, it will need a new title. -Rexy Remixer name : jmabate Real name : abate jean marc website : https://www.youtube.com/user/jmabate userid : 35644 Name of game(s) arranged : Mega Man X Name of arrangement : Sigma Fortress 2 cover Name of individual song(s) arranged : Sigma Fortress 2 Composer : Setsuo Yamamoto System : Super Nintendo Original : Best regards jmabate

Hello, I am a composer and arranger from France, and I would like to propose a first arrangement to OCremix. Contact informations: -Remixer Name: Burmecia Dragon -Real name: Vannick EYMERY -Website: https://soundcloud.com/vannickeymery -UserID: 36724 Submission information: -Name of game arranged: Final Fantasy VII -Name of arrangement: Reggae of the oppressed people -Name of song arranged: Oppressed people by Nobuo Uematsu -This song was made in tribute to Nobuo uematsu and to Final Fantasy 7, which made me start learning, playing, and composing music. I wanted to cover a song that is not a "Highlight" song from this game: just a great funny tune, with a strong personality and a Reggae flow that I wanted to maximize Thank you, Regards Vannick

Contact Information: Your ReMixer name: Chalis Your website: https://soundcloud.com/36_99 and https://www.youtube.com/channel/UCShxV9_h4iNCBxw0VaO6TXA Your userid: 32914 Submission Information: Name of game(s) arranged: Undertale Name of arrangement: Chill Dude Name of individual song(s) arranged: Bonetrousle Link to the original soundtrack (if it is not one of the sound archives already available on the site): https://www.youtube.com/watch?v=zdeZwAk6ULE Your own comments about the mix, for example the inspiration behind it, how it was made, etc: I've always wanted to do a chill jazz-inspired remix of Bonetrousle in 3/4 time, and I only felt I was ready to do it recently, so I took it on.

Remixer Name - Black Ace Real Name - Alexey Bakhmetyev E-Mail - Website - https://vk.com/cjblackace UserID - 34929 Name of Game - Teenage Mutant Ninja Turtles (NES) Name of arrangement - Night Walk Name of song - FootClan Base Game info - https://en.wikipedia.org/wiki/Teenage_Mutant_Ninja_Turtles_(NES_video_game) Original track - https://www.youtube.com/watch?v=N6aJjKcoq2U Release Date - 19 Feb 2020 Download PNG link (Please use it at YT video! It's very important for me!) - OR use layered PSD file for resize image - Thanks! И вот - он перед вами! Первый мой серьёзный трек в 2020ом году! Этот трек стал для меня, в некотором смысле, переломным, но обо всём по порядку. Изначально релиз планировался через пару недель после «TEYANDEE!», однако мой перфекционизм не дал мне выпустить трек в свет, и как оказалось - не зря. Меня совершенно не устраивало звучание, а также жуткие тормоза моей древней (11ой!) версии FL Studio, которые просто не давали мне нормально работать. В конце концов, я решился - я установил свежую, 20ую версию (я пропустил 9 версий, да!) и начал заново изучать интерфейс. Помимо этого, мне пришлось обновить кучу плагинов, и привыкать ещё и к ним... После того, как трек был практически готов, я начал советоваться с Nick Stradi относительно звучания. Вернее сказать, я просто обратился к нему за некоторыми семплами, но тут мы заговорили про сведение, про мастеринг, и всё заверте... Решено было полностью перемастерить трек. И тут я снова начал учиться совершенно новым для меня вещам в этой области. Труды не были напрасны и трек на выходе получился в разы чище и приятнее, чем был до этого, а я, к тому же, теперь имею в своём скворечнике новые и нужные мне знания (за что Stradi огромная моя благодарность!). Теперь о самой идее трека. Как обычно, я пытался сделать что-то в том стиле, который никогда не пробовал. В этот раз я выбрал liquid funk. Мне хотелось сделать что-то похожее на трек «Pendulum - Still Grey», при этом добавив в него ретроигровой тематики. Мелодия для ремикса была очень быстро найдена - я взял «ночную» тему из пятого уровня первых Черепашек-Ниндзя для NESденди, так как это вообще одна из моих самых любимых 8мибитных мелодий (хоть и была она внаглую слизана с хита Битлз :-D). ОСТ действительно создаёт таинственное, тревожное и ночное настроение, так что мелодия идеально подошла (хоть и изменил я её до неузнаваемости :-)). Ну вот, так как-то. Слушайте, оценивайте, комментируйте, РЕПОСТИТЕ, живите, любите, пишите больше каверов и ремиксов, гуляйте по ночам, ищите технодром, но берегитесь вертушек фут-клана!

Hi, Here's my submission of a track from Final Fantasy VII. Submission information: Game: Final Fantasy VII Arrangement Name: Valley of the Fallen Star Song arranged: Cosmo Canyon Contact information: ReMixer name: infinitytone Real name: Karol Kosacki Website: https://www.youtube.com/infinitytone userid: 34463 Hope you have fun listening and have a great week! Best, --- Karol (Charles) Kosacki https://www.youtube.com/c/infinitytone http://infinitytone.com

Contact Information ReMixer name: Reuben Spiers Real Name: Reuben Spiers E-Mail: Submission Information Game: Pokémon Gold/Silver/Crystal Name of Arrangement: Slowpoke Paradise Name of Original Song: Azalea Town/Blackthorn City Featuring GameroftheWinds on flute, Chromatic Apparatus on cello, and me on the rest.

Contact Information thebitterroost thebitterrooster.wordpress.com 32609 Submission Information Super 3D Noah’s Ark “For Sacrifice” Boss Theme System: SNES, Developer/Publisher: Wisdom Tree, Composer: Vance Kozik Original: Mics on drums. Guitars and bass are DI, amp-sim'ed with LePou LeGion, Lancaster Pulse, and Audiffex GK Amp 2 LE. Originally done for Dwelling of Duels‘ December 2019 “1994” competition. Wisdom Tree just got evil.

CONTACT INFORMATION: BType (James Bartlam, Andrew Bell, Chris Binding, Steve Brunton, Graeme Cooper) btype.bandcamp.com 36720 SUBMISSION INFORMATION Game: Starwing Arrangement title: AFD Song Arranged: Corneria Theme AFD (All Fucking Day) is dedicated to the staff of one of our favourite pubs, who all have a few AFD shifts under their belts! Cyber-Byte (James Bartlam) - Beatbox Andrew Bell - Bass, Production Chris Binding - Guitar Steve Brunton - Arrangement Graeme Cooper (x Critical Strike x) - LSDJ

Contact Info: ReMixer name : Schneider Souza Real name : Schneider Ferreira Reis de Souza 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 the information about this song is included in the site My own comments: Ps. This is my first submission so let me know if I wrote too much. Thanks, Schneider Souza

Hey, giving a shot at submitting some EDM. Since I already have the monicker "Setu Firestorm" (which people had associated with my rock work), I figured if I do some EDM stuff on the side, I'll go with the monicker "PseudoDragon" since I made a logo for it for fun (for the sake of the submission, I'm fine with it just being my real name (already used for previous submissions). Your ReMixer name: George R. Powell Your real name: George R. Powell Your website: https://www.youtube.com/channel/UCrGd4-atG2RlYiIun2eNVew Your userid (number, not name) on our forums, found by viewing your forum profile: Artist #6002 Name of game(s) arranged: Mega Man 4 Name of arrangement: Blasting My Way to Dr. C Name of individual song(s) arranged: Cossack Stage 1, and Cossack Stage 3 Additional information about game including composer, system, etc. (if it has not yet been added to the site): Themes originally composed by Minae Fujii for Mega Man 4 on the Nintendo Entertainment System. Link to the original soundtrack (if it is not one of the sound archives already available on the site) Your own comments about the mix, for example the inspiration behind it, how it was made, etc.: I'd always wanted to try my hand at EDM, and with the whole COVID-19 thing keeping everybody stuck at home, I had nothing better to do than give it a go with one of my [many] favorite themes from the Mega Man games.

Hi all, Got a little something I've been toying with for a while. It's not exactly the most inventive thing I've done but I've been meaning to just get this out of my head. So here we are, the obvious, "should have done this years ago" EDM mix of the Death Egg Zone from Sonic 3. I hope it scratches someone else's itch. Remixer: GlacialSpoon (Rob Kemp, ) Website: happysalad.net Forum id: 30320 Game: Sonic The Hedgehog 3 Original Track Name: Death Egg Zone Remixed Track Name: Egg Death Machine More notes: Blatant Martin Garrix influences but with a little of my complexity thrown in. I've been trying to dial things back a little and do more with less but the old habits always come through a bit. I end up picking over details I bet nobody will ever notice. As a result, it took far too long to complete. Thanks for listening however this goes. Always a pleasure. GlacialSpoon

Structure-wise, it does go through one run-through of the source - but the genre adaptation gave the notation a whole other mood. The choral chanting and harp carried most of the source usage, relying on what little apparent melody the original had - and while all this was going on, it allowed for layers of pads and percussion to generate a new accompaniment altogether. I also find it interesting - and a while to absorb, admittedly - that the hand percussion paced itself at an utterly separate tempo than the melody lines. It's usually an unconventional writing choice, but it's also an atmospheric aesthetic that only new age can provide. The production also has a strong effort - a great sense of balance, lovely textures, and careful use of space to bring out the best of your instruments. The articulations are among your best yet, too - thanks to delicate shaping of vocal envelopes, the attack shaping on the harp, and the brief woodwind usage getting firm care with vibrato and volume shaping. Yes, headroom does remain a recurring issue with one giant spike in the waveform at 1:58 (caused by a loud harp stab) and the audio hardly going above -6db otherwise - but I feel there's enough done with the mastering to make it fit among other similar work. If it's not evident by now - it's interpretive and calming stuff. It's a more subtractive take on the source with a beautiful presentation suitable for de-stressing. Great work, Rebecca! YES

I'm with Larry as I feel the structure's fine for post-rock. The source first makes its appearance at 0:17 within the slow-burn intro, with a guitar referencing the slow synth lead in the original. It's not until 0:53 with the Moog-like synth and its dipping in-and-out every 2 bars where the familiar Rhodes line from the source makes its presence, and even through another breakdown and climatic beat at 2:20, that riff stayed put. What's even cooler is that you found ways to transform the simple melody throughout, making it appropriate to the timbres at the present moment and not echoing any similar modifications elsewhere. I approve of this a lot. The production also checks out - a clean mix, lovely attention to space, tight balance, and some fitting synth timbres. I don't mind the dynamic spread - the quieter instruments are there to provide a sense of delicacy in the bookends, and are an excellent contrast to the climax at 2:20. I also agree with the compression being tight in that section as well, but the parts still maintain their clarity so that irk doesn't matter in the long haul. Nevertheless, I'm impressed with what you put together - sweet transformations on the theme and a thoughtful production alongside. And as someone who's used to you writing more unconventional arrangements, the not-so-quirky nature of this one has left me floored with what you pulled off - striking research work, Michael! YES

I appreciate what you set out to do here - a mellow groove, with a call-and-response between source use and original chord progressions. That framework shows promise, with a strong bounce for the first two and a half minutes, and a break with changed up textures on the source at 2:42. Yet, I'm afraid I have to disagree with Wes in that the bass's dissonance with the rest of the song negatively impacts its synergy. This aspect can benefit from a complete re-write. Regarding source manipulations, however - aside from that breakdown and repeating the second half from 3:51 onwards, nothing engaging has been done with it. Since the source use quota isn't a problem, consider going back into all parts where you used it and have fun changing up the textures further - or even experiment with envelopes on your VSTs and see what works. Production-wise, I'm co-signing with Wes on this one. The waveform does have large spikes where the drumbeat is present, indicating a lack of master compression or side-chaining (or even both). Looking at the track through an equalizer also showed a lack of mid to high-end frequencies, so giving some presence to tonally higher instruments like your pads and piano could work - or even adding other layers that fit within that range. Along with the dynamically flat sample presentation, this track has a sparse and underdeveloped set of textures - which again goes back to the suggestion of experimenting with different textures and envelopes. Some much-needed thickness could go a long way. It's not a bad start there, Jonathan, but I can see it getting improved further. It'll be sweet to hear another version that changes up the source's presentation in the first half, has more textural engagement, a re-written bassline, and another mastering pass. Keep at it. NO

RebeccaETripp Rebecca Tripp http://www.crystalechosound.com/ ID: 48262 Game(s): FF4 Song Title: Chariot of the Moon Songs Remixed: Big Whale This is my submission for the “Badass” album, but I’m hoping the album will be out by the time this gets to the judges.

I am extremely grateful for the opportunity to submit more music for consideration on your website. I have been a huge fan of OCremix and love having my music up here on this site! Let me know if you need anything else, thank you! -Elation, AKA Brett Jones Contact Information Elation Brett Jones https://www.audius.co/elation https://www.facebook.com/iamelation https://www.twitter.com/elationUS https://www.instagram.com/iamelation/ https://www.soundcloud.com/iamelation https://www.elationmusic.newgrounds.com/ https://open.spotify.com/album/21lIRymJXZhf2Uinxgkjpk?si=CbLmlzzVTZO8P285W24-OQ https://www.youtube.com/channel/UCX_W50jVYphEdzpLiz84xlg https://ocremix.org/artist/9080/elation Collaborated with the talented guitarist Casey Chanatry for those epic leads! follow his band here: https://facebook.com/JahmanBrahman/ Submission Information Lord Monarch Online Steel Brain Flash Port Geo Level Theme Source

Contact Information ReMixer name : Neverback Music Real name : Backer Ruth Website : https://www.reitoken.com Userid : 34757 Submission Information Name of game arranged : Kingdom Hearts – Birth by Sleep Name of arrangement : Epic Space Mkaukau Name of individual songs arranged : Mkaukau This is an hybrid orchestral arrangement of one song from Kingdom Hearts. It’s a game that I love, including its soundtrack! I Have try to share my love for this game and for music with you through this little arrangement. Today my Remixer name is Neverback Music. If you want find more about my Work you will be able to find me with this name. I hope you will enjoy this remix.

Hi, I'm writing to submit my track to OverClocked ReMix. Contact information: ReMixer name: DreaMeter Real name: Theo Swartz Website: soundcloud.com/dreameter Submission Information: Name of game arranged: Animal Crossing (Nintendo GameCube) (OCRemix page link) Name of arrangement: Umbrella Season Name of individual song(s) arranged: Rainy Day Artist's comments: In terms of inspiration, I always found the Animal Crossing OST to be delightful and would frequently listen to the songs on my iPod around the time the game was originally out. I would also play "Rainy Day" sometimes on my portable speaker and to help me fall asleep. Years later, I started making music, with a focus on electronic, synthesizer-based timbres. One goal for my DreaMeter project is to make music that is beat-driven yet soothing, that you can zone out to. I've made quite a it of original music but lately, I've been trying my hand at arranging existing songs as well. I thought it would be fun to arrange one of my favorite songs from the original Animal Crossing right in time for the new installment in the series. My arrangement is at a slower BPM than the original, aiming to pull out and highlight the melodies from the original that I so enjoy, while augmenting the chord voicings and progression slightly and soaking the whole track in the sound of rainfall without overpowering the instrumentation. It's a short, synthed-out, atmospheric trip to an Animal Crossing bubble that the listener can float away in. Thank you for your time! I hope you find something that you enjoy in this track and I look forward to the critique as well; I know you guys have high standards. Theo

RebeccaETripp Rebecca Tripp http://www.crystalechosound.com/ ID: 48262 Game(s): Ocarina of Time Song Title: The Light of Dusk Songs Remixed: Title Theme