Rexy

Link ReMixer & real name: Eino Keskitalo e-mail: eino.keskitalo@gmail.com Names of games arranged: Psycho Pinball Name of Arrangement: Kamomilla Names of individual songs arranged: ? (Circus table music) Source: Part of source used in the intro: 1:03-1:12 Part of source used in the rest of the tune: 0:54-1:12 Notes: This is originally from PRC round 276, way back from 2014! (http://compo.thasauce.net/rounds/view/PRC276) Love the game, played it back in the day with friends. To be honest, I wasn't terribly inspired by the circus style music, but there were a couple of parts I did find I could work with, and I wasn't going to pass on the chance to rearrange music from this game. Interesting circumstances and interesting results, I think. It's kind of fun to listen and compare the initial compo version to the finished thing. It's basically the same really, but I did spend hours and hours in total, chiseling away on the mix, coming back to it every few months. Or years. The usual. Nice to finally have finished a DOS game music arrangement. As almost always, this was done in Renoise, and you might be able to hear the sample-based tracker.. "techniques" I guess, such as using a single sample for an instrument and just playing it in different pitches without worrying too much. I like to think that this one really has that feel. Thanks to Eladar, Jorito and Pirjo for constructive comments! cheers, --Eino

Contact Information: - ReMixer name - Tune in with Chewie - Nestor Estrada - - YouTube: https://www.youtube.com/c/TuneInWithChewie or main website: www.nestorestrada.com/youtube - userid 35202 Submission Information: - Undertale - Chillaxing Day - His Theme - Composed by Toby Fox - Link to original track: As with all my arrangements, I generally like to try and experiment with different ways to really transform a VGM tune into something different. In this case, I wanted to go for an Indie Rock/Pop sound with a hint of Lo-Fi aesthetic. Clairo and Arcade Fire were my inspiration for this tune. His Theme is pretty basic - has a distinct melody and the same chord progression throughout (adding in layers as it goes). So this gave me the opportunity to really take the melody and just try out different ideas. I approached this with a songwriter mentality. Meaning, I wanted there to be a verse, chorus, bridge, etc. I also wanted to avoid just playing the melody the same way throughout to avoid repetition and boredom (both for myself and the listener). So I took liberties with the melody during the verses and bridge. I kept certain rhythmic elements as well as hang around the notes you hear from the main melody, but twisted it enough so it's different. Then when the chorus comes in, you hear the melody full force. I also kept the general chord progression used from the original for the verses to connect it more. For the ending vocals (and sprinkled throughout), I had several friends on the Outlier Studios team just record a bunch of passes. I think total there was around 30 or so vocal stems which I mixed in. Hope you enjoy this one! Best, Nestor

Contact Information Remixer Name: pixeltea Real Name: Duncan YouTube Channel: https://www.youtube.com/channel/UCZ60Idzoiqm1lIqIZ3NB5Hg User ID: 33998 Submission Information Name of arrangement: Fur & Feather Rag Original song titles: "Click Clock Wood (Spring)," "Spiral Mountain," and "Main Title" Game of origin: Banjo-Kazooie Composer: Grant Kirkhope https://www.youtube.com/watch?v=V46DRC4dEo4 https://www.youtube.com/watch?v=pPUn5biib1c https://www.youtube.com/watch?v=dQNAVqW1shA A medley of Banjo-Kazooie songs arranged in the style of a traditional New Orleans-style Dixieland jazz / ragtime.

Wait, Guild Wars 2 had a brief retro seasonal update? If that isn't GOTY quality, then I don't know what is. Arrangement-wise, it's more straight-forward than what I usually expect from Dustin, but the framework is a stable one. It's centered around two variations of the source, with only the A section between them sounding identical. The breakdown at 1:15 also used the intro's build section effectively, along with the genius manipulation for the B section's melody at 1:25. The calmer variation of said B section at 2:06 staged itself well for a building climax that brought the guitars back in and the drums pacing along at half-time. His writing keeps improving with each sub, and I'm so glad he took up the offer to participate in this album project. The production is very satisfactory - the mixdown is the cleanest I've ever heard Dustin pull off (!!), the recorded guitars are free of artifacts, and the mastering brought out the best of the instrumentation. I do have a couple of critiques, though. Firstly, the bass feels a touch on the quiet side, which is unusual for genre standards. Secondly, the articulations on the orchestral section felt stiff and could've benefitted with key switches to make them shine whenever the guitars don't take center stage. They aren't dealbreakers here, as the positives here combined with the treatment of the source material exceed expectations. If it isn't apparent by now, I'm in favor of seeing this on the front page. It's fun, the admiration he has for the game had brought out a burning passion with its creation, and it's a strong example of how far he's developed himself as an arranger. Great stuff! YES

That presentation is indeed on the simplified side, but still very pleasant - cohesively mixed down, and the choice of timbres hits the intended feel. The only issue I have is whether choosing a bunch of pseudo-MD tones are enough to carry the rest of the content. I understand that you didn't want to emulate the hardware, which is reasonable - but this choice tied into a dealbreaker in the next paragraph. I'm going to have to slightly disagree with my fellow judges in regards to interpretation. The backing had moments where they deviated from the original, like with the transition at 0:49 and the quirky choice to go into the second half of section B (1:05) with two different chords. The main beef I have is that despite the original writing in the second half, the backing stays the same. I suggest you take a look into the notation behind your second half and experiment with different textures. You can still have it follow the source, but a complete overhaul with how the accompaniment presents it can do some wonders, both with writing and presentation. As of right now, it feels stale and in need of more work done. It'll be nice to hear another version with more attention to the backing's variety in terms of both writing and sound design. It's still not a bad first submission, and I hope you get the chance to continue developing your craft. NO

Contact Information ReMixer name - Reuben Spiers Real Name: Reuben Spiers Submission Information Game: JoJo's Bizarre Adventure: Heritage for the Future Name of Arrangement: The Fool's Dog Name of Original Song: Iggy's Theme Featuring GameroftheWinds and SubversiveAsset on sax. How much cowbell is enough? Trick question. Enough doesn't exist.

Greetings, OC ReMix Judges! I appreciate the opportunity to contribute to this community. My name is Bryan. The following submission is a new take on a popular piece from The Legend of Zelda. All instruments were performed by the musicians who are copied on this email and credited below. A full playthrough video is available at: CONTACT INFORMATION ReMixer name: soloudithz Real name: Bryan Guess Email addresses: // userid: 36145 SUBMISSION INFORMATION Game arranged: The Legend of Zelda: Twilight Princess Name of arrangement: Midna's Laughter Name of original/individual song: Midna's Lament (or, Midna's Desperate Hour) Additional info: Already available on OCR Link to OST: Already available on OCR Comments: This piece was the result of a personal challenge to completely shift the mood of the original work by replacing all harmonies with their parallel major, minor, or modal harmony. The result is an overall lighter, whimsical, joyful feel (in contrast to the somber yet urgent feel of the original). This is not merely a reharmonization as the melody also shifts subtly with the key change while still calling back to the original. For the careful listener, several other motifs from the LoZ series are embedded in the arrangement as harmonizing lines. All instruments in the arrangement were recorded by the performers. No MIDI instruments were used -- with one exception: the bell set was reinforced by a subtle background layer that combines a sampled marimba and some synthesized bell tones. PERFORMERS: Piano -- RIchard Blumenthal -- @blumenmusic on facebook/Instagram Nyckelharpa -- Amy Hakanson -- @pickleharpa and varelse_music on Insntagram Bass -- Jon Chacko -- soundcloud.com/nojon1 Bells -- Bryan Guess Thanks again! --Bryan

Arrangement-wise, it's short and straight-forward but beautifully laid-back and subtle. There's two distinct halves here - one with a focus on a run-through with the melody, and a second with cameos moving along one after the other while going back into the primary source. Despite the autopilot nature, there' a lot of attention to articulations, realism and subtractive arranging underneath it all. And for some reason, I felt stunned to hear more of a focus on the theme from Yoshi's Story (not Yoshi's Island, as stated) throughout the break - a pleasing easter egg from a completely separate Mario spinoff, and I'm always happy to hear surprises. The mixdown is lovely and clean, I can identify the parts, and the palette is gorgeous for the tropical direction. I don't mind the beach ambiance, to be honest - a listener's mileage may vary when it comes to that. But here's the big kicker that both MW and prophetik touched upon - the considerable jump in headroom. There's five and a half dB between the peak and the shelf, and it'll be more beneficial for the genre adaptation to bring the volume up to scratch before making it ready for primetime. Other than the volume issue, I consider this track good to go. If Juke can take action with making the track louder, then it'll easily be front-page material. EDIT 2020/03/26: Juke has gotten back in touch with us with a new revision. Not only did he raise the volume, but he also changed up the guitar patterns at 1:22-2:00 to a calmer pattern in anticipation for the melody's return. It's a subtle improvement to autopilot, which to me wasn't a dealbreaker to begin with - and on top of the volume boost, I feel this is absolutely ready for the front page. I'm so glad he got in touch with us! YES

This track has to be the most unintentionally happy Metal Gear arrangement I've ever heard. What we have here is an adaptation for the A section in the first two thirds, then the B section in the final minute. Though the melodies have mostly remained as they are, the beauty here is in the subtractive arranging underneath that are appropriate for the genre - arpeggios, pads, that driving bass, and engaging drum work throughout. That breakdown at 1:21 did good in building anticipation for some more original writing at 1:36, which had some beautiful glides to complement the change of lead tone. And yes, while I can mention the off-notes that are here, prophetik already did a great job in pointing them out. I can let them slide due to the complexity of the chords picked up, but it is something to look out for in your next work. The production values are sharp too. The mixdown is clean, your parts are identifiable, and the sounds picked out are on point for the genre adaptation. I respect your use of reverb and decay on an aesthetic level, and it's especially prominent in the intro to give power to the tom rolls. But I would've liked to have heard less intensity on your arp starting at 2:43 - the quick chord changes mean the notes blend into each other way too quickly, generating unintentional dissonance. Funky note clashing aside, it's a worthwhile arrangement with a clear direction and understanding of what synthwave is all about. I can see it on the front page - though I recommend that for your next project, consider your next goal to mitigate as much dissonance as possible. I'm excited to see where you can go next! YES (borderline)

Contact Info ReMixer name: Katamari Real name: Austin Green Email address: Userid: 16526 ReMixer name: Sagnewshreds Real name: Sam Agnew Email address: Userid: 16118 ReMixer name: Trohnics Real name: Eric Smith Email address: Userid: N/A ReMixer name: Manny Real Name: Manny Lopez Email address: Userid: N/A Submission Info: Name of game(s) arranged: Power Drift Name of arrangement: "Velocity Fueled by Sake" Name of individual song(s) arranged: "Like the Wind" Composer: Hiroshi Kawaguchi System: Arcade Link to the original soundtrack: Contributors: Katamari: Arrangement, Guitars, Bass, Keys, Mixing Sagnewshreds: Arrangement, Guitars Trohnics: Arrangement, Guitars, SFX Manny: Arrangement, Keys Velocity: Fueled by Sake was a fun take on Power Drift that was cooked up for the Dwelling of Duels Kart Month contest in May 2018. A ton of inspiration on this track comes from J-Fusion bands such as T-Square and Casiopeia, noticeable mostly in the "EWI" tone for the main synth lead, as well as the multiple keyboard and guitar solos sprinkled throughout, culminating in a twin guitar solo battle at the end. Leading up to the submission date for the contest, we had been trading trash talk with another DoD regular, Snappleman. Both our group and Snappleman were planning on entering a Power Drift entry, and our group was determined to beat this legendary competitor. After consuming much sake during an extended weekend visit to Sagnewshreds' apartment in Manhattan (a yearly tradition), we had a completed track that we thought would stand up to the competition, which we aptly named "Fueled by Sake". However, being familiar with the way that Dwelling of Duels works (songs are listed alphabetically first by game, then by track title), we figured that our best bet would be to have our track go on *after* Snappleman, and so we appended "Velocity" to the front and called it finished. Snappleman did not actually enter that month, but we still took first place. No one knows to this day whether he had ever actually planned to compete. Thanks for considering us!

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!