Rexy

ReMixer name - Mak Eightman real name- Max V. Kravchenko email address- userid: 32137 Submission Information: Title - "Burning Shine" Name of game arranged - Super Mario Bros. 3 System: NES Name of individual song arranged - Athletic Link to the original soundtrack - https://www.youtube.com/watch?v=WT5nfQJP40Y Hello! Almost four years has passed since my last submission. All seemed well, until without warning, my wife descended from space and said me to submit some stuff. Because "you have lot of different music. Why you don't represent it? Submit some stuff!" "I don't want" i said.. "Who cares?" she said. So here I am. Going to submit few tracks because they are "different"(lol). This mix is kinda crazy. First off all I tried to combine PAIN an Therion. Second.. There is 6 rhythm gtrs at same time. Timing issues here and there, production kinda wacky. NO resub Thanks! SFME!

After listening to this, I don't understand the reasoning for the prior 'no' votes at all. Yes, the backing is in a similar style to the original, the 6/8 time signature stayed, plus it went through one loop and the return of the middle breakdown at the end. But there's plenty of subtractive arranging to be had - flourishes on the melody line, the melodic deviation on the flute at 2:36-2:45, new bells/piano chords, and added choral parts where the original didn't have any. I feel you've done plenty to make the track your own. I did have to think more about the production values, though. It's a clean mix, and I can detect all the necessary instrumentation. The piano and bells, while locked to the fast-moving tempo, have been articulated well and shared their lushness well with the strings and choral parts. The one issue I had more than anything else is with the legato on your wind and choirs, as for some reason, there's no attention to breathing room during the second half. The first half, while not being clear on pauses either, had volume shaping on the flute lead to give the impression of brief drawing of air before continuing. In the larger picture, I don't see it as a dealbreaker, but a cautionary message on something to improve in the future. To me, the overall package is satisfactory. Rebecca, your transformation with the arrangement is minimal, but you've done more than enough to get it over the bar. Match it with a similar process on the production, and I feel it's good to go. Good luck with the rest of the vote! YES

My remixer name: Ernesto Javier Music Real Name: Ernesto Javier Flores Email: website: https://soundcloud.com/ernestojavier_music user id: 36248 Game title: Star Fox Track: Corneria Theme Original Composer: Hajime Hirasawa System: Super Nintendo Link to original music: https://www.youtube.com/watch?v=HMvkkqxs8m0 My comments: I tried doing a orchestra/rock version of one my favorite songs from Star Fox. Combining genres it is never an easy task but hopefully i was able to accomplish my goal. Enjoy

RebeccaETripp Rebecca Tripp http://www.crystalechosound.com/ ID: 48262 Game(s): Pokemon Gold/Silver Song Title: Dreaming Down the Lane Songs Remixed: National Park This song was mixed by Chimpazilla

This arrangement sounds fun. "Song of Storms" doesn't have much material to work with - so going in a dubstep direction is a simple and effective way to take it, allowing more emphasis on subtractive arranging. The choice of timbres, which is especially important with this sub-genre, all sound meaty and packed with energy - and with the bass's LFO being on point as well, you've got an overall appropriate palette for the job. However, the amount of mud and over-compression in the mixdown is overbearing. I know you want EDM to sound loud, but none of the instruments outside of the percussion and bass have their breathing room and keep bleeding into others. Consider going back into your parts and seeing if you can make any EQ cuts to give them their wiggle room. The pumping also makes the drops feel more squashed, so consider weakening the master compressor as well, if there is one. It's a serviceable track otherwise and does its job on the arrangement side, but as of right now, the mixdown needs another pass. I hope you get the chance to do just that. NO (resubmit)

Not exactly. Material posted under GiIvaSunner is the legit in-game audio, while SiIvaGunner is about the memes. The source picked out is fair play. Good to see that MnP is still doing well after over 100 compos at this point. Good luck with this week!

This is a resub of a Direct Rejection. I originally rejected this for being sparse on both an arrangement and production level - and while the track still remains quiet for some reason, there has been a lot more effort with the arrangement to warrant moving this forward to the panel. -Rexy- Hello, I got a lot of feedback on my first submission and would like to try again. Please let me know what you think! Contact Information Your ReMixer name: JackOfAllBards Your real name: Joe Beach Your website: N/A Your userid: 36562 Submission Information Castlevania II: Simon's Quest Sanguine Tears of Funk Bloody Tears Your own comments about the mix, for example the inspiration behind it, how it was made, etc: I have been listening to OCRemix for a long time and have always wanted to contribute. Inspired by the OneUps, the SuperSoulBros, other OCRemix artists, and an innumerable amount of Jazz/Fusion artists. Also inspired by some Synthwave mixes that I've been listening to on Youtube. I love Castlevania and can't get enough of it.

RebeccaETripp Rebecca Tripp http://www.crystalechosound.com/ ID: 48262 Game(s): Twilight Princess Song Title: Voices of the Ancient Ones Songs Remixed: Grotto

Contact Information ReMixer name: Reuben Spiers Real Name: Reuben Spiers E-Mail: Submission Information Game: The Legend of Zelda: Link's Awakening Name of Arrangement: A Toadstool Mix... Name of Original Song: Mysterious Woods Featuring GameroftheWinds on Clarinet and Flute.

For clarification, the Ottawan Band cameo lasts for 3 seconds. I consider the minor use of non-game music okay in this context and fine to put this in the queue. This submission is done by mlho7. -Rexy Hi OCR, Long time no remix. I made a Megaman 2 flashman theme remix and I would like to know your feeling about it. I was listening to original soundtrack of this game I used to play a lot and I suddently thought, : Damn, this theme is so disco, potentially. There is something from this Ottawan band in it, D I S C O. Then I tried my best to prove my thought, I didn't go too far from original arrangement and did that. Thanks.

Hi, This is Drew Etterle (SuprMelO). My OCR user ID is 34268. I can be found at http://peribangrecords.com. I've got a couple submissions up with you guys from my band Moiré Effect. This track is a solo effort and I hope you like it. It's a synthwave/outrun style remix of "Black Waltz" from Final Fantasy IX. I've titled it "Neon Black Apocalypse". I composed this track to participate in the Pixel Mixers community album Beyond the Mist. The whole album is over 7 hours long and can be found here: https://pixel-mixers.com/2019/06/27/final-fantasy-ix-beyond-the-mist-tribute-album/ I don't have a lot to say about this track. I had two weeks scheduled in a Holiday Inn so I brought my laptop, keyboard, and audio interface. The project needed a remix of Black Waltz and I wanted to try my hand at this synthwave/outrun/retro stuff that's really fun now. As I was doing research on Spotify about this genre while driving through Tennessee, the track I kept coming back to was Dystopia Now by Mental Minority. I don't know much about this artist but when I heard this track I knew I wanted to make something like it. I thought a song about a subjugated race of powerful black mages crafted as weapons of war matched the genre pretty well. Thanks for checking it out, Drew

RebeccaETripp Rebecca Tripp http://www.crystalechosound.com/ ID: 48262 Game(s): FF14 Song Title: Thanalan Suite Song Remixed: To the Sun

Honestly, I see this as a neat genre adaptation. The performances are tight, the guitar tones both electric and unplugged are expressive, the drum writing never sticks around in one place, and the palette as a whole has this raw garage sound to it. Yes, this track does have more of a bass presence and not so much on the highs, but I didn't sense any glaring frequency overlaps either and can consider this an intentional alt-rock sound that fits its intended purpose. And yes, the arrangement is minimal, but it's just the melody maintained as it is while the bass does its own thing, and the added rhythm guitars/synth work contributes some fun textures that also shake up through the track's duration. The sustained aesthetic in the second variation felt ominous, the bit-crushed breakdown at 1:23 was out of leftfield, and the half-time drums at 2:17 shaped up an impressive audible climax. I think it set out to tread the fine line between conservative arranging and thoughtful interpretation, and that's impressive on its own. So yes, it's a gritty sound and minimal arrangement that may not fly with everyone, but I didn't sense anything glaring, so both sides squeaked over the bar for me. But I do hope you take what you've learned from this experience and see where you can push yourself for future submissions. Please stick around! YES (borderline)

Rebecca has passed me a version that addressed the volume problem. @MindWanderer / @DragonAvenger / @Jivemaster / @prophetik music, as you were conditionals on this vote, feel free to take a listen and see if it amends your judgment.

Remixer and real name: Michael Hudak Name of game: Tales of Symphonia Song from game: "A Snow Light" (Flanoir Theme) with some very brief riffage from "It Can Waver and Fight". Name of my arrangement: "Blizzard Love Triangle" Original songs: More 80s! Madonna, Kate Bush, Flock of Seagulls, and especially New Order were main inspirations for this track, and in fact the whole thing at first came out of trying to replicate Peter Hook's (New Order/Joy Division) chorus-y bass tone. The name "Blizzard Love Triangle" is a play on the New Order's "Bizarre Love Triangle", too. The name still stuck after several versions. I quite like how this arrangement turned out. I love the big rock kick drum and how it juxtaposes with the glitter of many of the rest of the instruments. The Tales of Symphonia OST has a LOT of distant-sounding bells and thin, airy synths, and really just a ton of reverb in general, which reflects the game's thematic elements of angels, holiness, and, uhmm, church-themed stuff. There's a side plot about a pope. There are lots of abbeys. Everything is a little bit...like a prayer... :3 There's a little metal break from "It Can Waver and Fight", which won't be recognizable to anyone but to ToS music fans, I think. Many of them are apparently also metalheads (going off of how many metal remixes there are from this game), so maybe this is a little bit of (additional) fanservice? Thank you, as usual, for your very useful evaluations!

Altering this particular section of "Dancing Mad" to common time opened up a lot of room to not only tweak the source's progression but add more to the notation within the newly created space. The syncopated feel on this arrangement has a lot of bounce, the performances are tight and on point, and the use of the opening bassline as a recurring rhythm pattern is a fun way to layer a motif on top of the main one. It's great stuff all around. However, working with four piano parts playing all at once at its busiest also meant the production values should've been treated less like a single piano and more like an ensemble. As of now, they are prone to not only note overlap but also getting buried behind other parts. Assuming you still have your MIDI data, you could change the timbre of three of the pianos, put the lower-scale notation on a darker one and higher-scale on brighter, and give them their unique positions in the stereo field. I'd also appreciate a small touch of room reverb, but it's best to decide the intensity when you figure out the separation first. As it is, the arrangement is fantastic. I, too, would like to see it on the site, but in a revised production that defines it as a four-piano arrangement rather than multiple ones hogging the same space. Keep going with your work no matter what you decide to do, Adeel - I see potential! NO (resubmit)

What a fun soundscape - I appreciate your "clown-like" intent with mixing orchestral sounds and glitched tones together in a whimsical palette like this. The orchestrated sounds themselves aren't the most realistic when left isolated and could've done with more articulation and humanization, as prophetik stated. Combined with the synth work, though, they just needed to co-operate together so one doesn't overpower another on a timbre standpoint - and that's what this track achieved. However, it's got some nasty flaws. First of all, the mixdown is unbalanced. It's a muddy mix where instruments bleed into each other, to the point that I can barely even hear your leads. The glitch tones and pads also overpower the rest of the instrumentation on a volume standpoint, so consider doing another volume pass in addition to any EQ cuts. Thirdly, most if not all of your instruments are drowning in reverb, and while I understand that is the norm for orchestrated sounds, it amplified the muddiness too much. Consider bringing the wet mix down for those affected instruments. And of course, the arrangement isn't interpretive enough. The glitch tones, arpeggio and trumpet solo at 1:54 were all fun additions, but the source itself didn't end up with any significant tweaks outside of instrument changes. prophetik listed some sweet ideas to add personalization to your work, so do take them to heart. A couple of fun ones I can add on top of it are to put the melody on top of a different chord progression, or the sillier thought to change everything into a major key - though I doubt you'd go in that direction for this particular track. And while I understand the constant kick-cymbal pattern to be an artifact of the source, that too is also constant and can do with some changing up after each section, so it sounds less like it's on auto-pilot. It's not a bad first pass with a fun sound palette idea, but the arrangement and mixdown both feel lacking in this current form. I hope you'll be able to go back and improve on those aspects in the future, whether on this track or future works. NO (resubmit)

Contact Info: ReMixer name: about:blank Real name: Chris Bouchard Email address: ReMix info: Name of game ReMixed: Sword of Vermilion Name of individual song ReMixed: Stats ReMix title: Treacherous Road With the original track being about a minute long, I tried to take this in a few different directions to keep things interesting. I took the most liberties in the first half of the song, and in those softer sections the arpeggio is based on the original's bass part and the melody is based on the original's arpeggio. Aside from that and a few new lead melodies, the rest of the song stays fairly faithful to the source material - at least in terms of composition. As for production, I tried to emphasize the original song's intensity by writing mellow sections in an effort to give those grittier sections a greater impact.

Contact Information: ReMixer Name: Seth Skoda Website: I don't have one, but I host my original content and VGM remixes here - https://skoda.newgrounds.com - add /audio to the URL to see all of my available audio submissions User ID: 36199 Submission Information: Game Arranged: Sonic & Knuckles (SEGA Genesis) Name of Arrangement: High Voltage Name of Individual Song Arranged: Flying Battery Zone Act 2 Additional Information for this game is already available on ocremix.org Link to Original (Source Material): My comments: Well, this spawned from a similar remix made years ago (a trap remix of the Death Egg Zone music from Sonic & Knuckles) as a joke with a friend. He said that it would be funny if someone were to rap on the original theme, so I made it into a hip-hop instrumental piece just hit shits and giggles. I posted it on Newgrounds (yes, that site is still around) Audio Portal because I thought, "hey, this kinda sounds good!" This was back in 2016 (and here it is: https://www.newgrounds.com/audio/listen/712132 ). Recently, Tom Fulp, the owner of the site, stumbled across it and wrote a review (which you can see if you click the link). He liked it (hooray!). I later not only discovered it in his favorites, but it turns out that he put it on the front page of the site for a while! Like, I've never experienced that before. It was a good feeling and made me want to make more quality material to upload. And since he liked it so much with not a whole lot of effort on my part, I figured that I could really blow him out of the water with an even better piece. A few nights ago, I finally got around to working on another Sonic remix. Hence this Flying Battery remix was born. You might want to know what I've used, considering that this is my first submission to OC ReMix. First off, my DAW is Mixcraft, version 7.7 (32-bit) Build 316. I initially chose this software at version 4 due to the price point being within my budget (only $65!), plus the ease of use (being a GarageBand ripoff). The VSTs I name in this first list are virtual instruments (starred names are VSTs packaged with Mixcraft): -Messiah* -Impulse* -YM2612 (a lot of it) -MinimogueVA* -Neochip v1.0 -Nightlife by Acoustica -Omni Sampler* -Alpha Sampler* -808/909 drum kit* Effects VSTs: -Classic Phaser* -Acoustica EQ* -Classic Reverb* -Classic Master Limiter* -Classic Delay* -Classic Chorus* -Classic EQ -LoudMax -mda Stereo Simulator -Broadcast Multiband Compressor Except for the above mentioned 808/909 drum kit, which is what I used for the toms, all of the percussion is from the Trapstep Sample packs you can easily find for free download with a Google search. I made this kinda from scratch. I had a midi sequence opened in one window, the project file of a previous remix of the Flying Battery Zone music in a second window (specifically, this: https://www.newgrounds.com/audio/listen/714068 ), and the project resulting in this arrangement in the third Mixcraft window. I used parts from the other two windows (even though I can't copy and paste between windows) and added in some new stuff as well. I tried to stick close to the source material with the melody and backing, but I also made a huge effort to throw in all kinds of extra stuff to not only make it my own, but add a little complexity and a lot of atmosphere to the piece as a whole. I hope that even if this doesn't make it to the site, you still find it pleasing to the ears.

Contact Information ReMixer name : Neverback-Music Real name : Backer Ruth Email address : Website : https://www.reitoken.com Userid : 34757 Submission Information Name of game arranged : Kingdom Hearts: Birth By Sleep Name of arrangement : Sleeping Beauty Makes A Horrible Nightmare Name of individual songs arranged : The Silent Forest The Rustling Forest This is an orchestral arrangement of two songs from Kingdom Hearts. It’s a game that I love, including it’s soundtrack! I Have try to share my love for this game and for music with you through this little arrangement. I try to make a powerful orchestration where you can find communication between instruments. At the same time I try to put my little own touch. I believe it’s important to be able to create/arrange a track but also to try to bring something new into the track. I spend 56 hours to make this track. 46 hours to compose it and 10 hours to mix it. I have started by writing the full arrangement on piano, after that add more instruments, transitions an littles small details. I hope you will enjoy it.

This arrangement isn't terrible, but it's undoubtedly on the static side. The source is dominant, but its parts were used verbatim on top of an otherwise pleasant set of bass and gated pads. The only source modification I heard was changing the last chord in sequence from Bb minor to G minor 7. You have a static second half that repeats the first melody variant with a different lead, so instead of repeating previous ideas, that could get used to explore and develop the motif. I should also elaborate more on Sir Nuts's concern about the piano on top of the clavinet at 0:33. You have the piano playing in a straight rhythm, but the clavinet has a swung one. Usually, a listener expects consistent rhythms, so consider changing the pace of one instrument to that of the other. The mixdown isn't too bad, though - there aren't any frequency overlaps, and you've panned your instruments appropriately, but the e-piano that appears at 1:03 is too loud for its role. That same timestamp also has a jarring 9dB volume jump - way too unexpected for the genre as it is. The piano has some pleasant velocities to it but can be more realistic, with one such idea being to layer two or more piano tones on top of each other for a unique timbre. The swelling legato on the saxophone also sounds cool, but the attacks and note cuts are too constant and can benefit from manual articulation tweaks. I do have credit where credit is due, though - the synth and pad selection is lovely and appropriate, so if you do go on to revise this track, please keep those patches are they are. While the track is pleasant enough to listen to at night, it is, however, bogged down with a static arrangement, very minimal interpretation, the jarring volume jump, and some smaller issues regarding realism. It's not bad, Gary - and whatever you decide to do going forward, I hope you get to take this experience to another level. NO

Contact Information Your ReMixer name: Saxxon Fox Your real name: Tony Konzel Your email address: Your website: https://sanxion7.com Your userid: 16152 Submission Information Name of game(s) arranged: DELTARUNE Name of arrangement: Arcane Anticipation Name of individual song(s) arranged: The Legend Additional information about game including composer, system, etc: (left out; this is a well remixed game by now) Link to the original soundtrack: Your own comments about the mix: I wrote this in a fever of inspiration while at Summer Games Done Quick 2019. About 15 years prior to this submission, I used to write a lot of trance music (it was popular at the time and also my fave!) So, this remix revives the classic early 2000s trance genre that I used to love so much. This remix follows the typical trance format: intro, drop in to the melody, break down, bring in another section, break down, bring it all back in the end. It's abridged a bit from its first trance length draft (over seven minutes!) in order to keep things interesting. The melodies themselves build up and become more complex in each part. Plus, I've added some original melodies in there also. The synthwork is entirely hand crafted specifically for this remix. I did the composition and sound design on a laptop at the event itself using FL Studio, then took it home and did the remainder of the mixing on my main setup. Thank you for your time! - Saxxon

Original Decision ReMixer Name: Aesaire Real Name: Li-Wen Oh Email: User ID: 34323 Game Arranged: God of War (2018) Name of Arrangement: War Never Changes Name of Individual Song Arranged: God of War Original Composer: Bear McCreary Link to Original Soundtrack: Comments: Thanks for the feedback, was helpful. Removed the layers of white noise that were obscuring the mix. Quite a few of the harsher dubstep growls were removed in the process as they were the main contributors. Redesigned some of the synths to with vocal filters as replacements. Ended up veering more towards the synthesizer orchestra in the end. Arrangement is mostly the same, there are some minor changes to fill up some extra space in the mix. The original goal was to create a modern God of War theme in the style of electronic music. All instruments and sounds, except the drum samples and some of the sound effects, were digitally synthesized an modeled to resemble the characteristics of physical instruments in an orchestra. Envelopes were shaped to mimic the build up of tension and release when played by real musicians. The first version included layers of dubstep growls to replace the choir from the original. This version was rejected as the layers of white noise were quite overwhelming. The current version removes a few of the harsher dubstep growls as they were the main contributors to the white noise. Redesigned some of the synths with vocal filters as replacements to mimic the choir, though they're a lot more subtle. Arrangement is mostly the same, there are some minor changes to fill up some extra space in the mix. Hope you guys like it. Cheers

Once again, thank you for providing source breakdowns, Timaeus! I find them so enjoyable to follow them along to the music and see how you shaped up the arrangement. It all handily checks out - evident source clarity, motifs on top of other motifs, grace notes aplenty, adaptations to different chord sequences, and a tight framework that knows when to anticipate which stretch of a source at which possible time. It's great stuff all around, and I can't expect anything less. I like your sound palette too. Keeping the Radical Dreamers backing to bells and e-piano adds a dreamy feel to it, as do every other rhythm and melody part other than one specific lead synth going legato-free. Yes, it can get busy and overwhelming to the point that I would've preferred some backing drop-outs. It's nothing too serious overall, though - it's still clean, reverb is used tastefully without clashing instruments together, and all parts have lovely articulations to them. All in all, it's solid stuff all around - and proof that you're capable of working with whatever tools are available and bringing out their best qualities. It's an inspiring track for anyone who wants to get started in arranging, but don't necessarily have the budget to invest in much from the get-go. Great job! YES

RebeccaETripp Rebecca Tripp http://www.crystalechosound.com/ ID: 48262 Game(s): OoT Song Title: Saria’s Lullaby Songs Remixed: Lost Woods, Minuet of the Forest Note, David Erick Ramos worked with me on this one!