Rexy

Remixer name: Bluelighter Real Name: Guillaume SAUMANDE Mail: ID forum: 21840 Game & Songs: Final Fantasy X & Yuna's Decision Composer: Nobuo Uemastu & Junya Nakano Hi OCR! This is a piano arrangement of Yuna's Decision. In the game, the music came after some difficult events. The contrast between this peaceable scene and the last events was clashing and the music was so remarkable. I really love this melody, so peaceful and nice. So I made a piano adaptation; trying to keep the spirit of the original. I put a lot emotion in this piece , a little romantic but without romance in the story : only hope and sense of duty of our charactere Yuna Enjoy BREAKDOWN Original 0'00 Melody A 1'05 Melody B Arrangement 1- 0'00 Mel B – high notes, like a dream 2- 0'28 Mel A – the main melody starts; respectful of the original structure with piano ornamentations 3- 1'17 Mel B – the structure continues, with quick arpeggios. It is followed by culminating point of the piece with loud harmonies. And still arpeggios 4- 1'54 Mel A – some variations of the main melody 5- 2'43 Mel B – reminder of the part 1

Contact Information Your ReMixer name: aluminum Your real name: Zac Changnon Your email address: Your website: blurringline.net Your user ID (number, not name) on our forums: 2776 Submission Information Name of game(s) arranged: Equinox Name of arrangement: Meridian Name of individual song(s) arranged: Tori Additional information about game including composer, system, etc. (if it has not yet been added to the site): https://en.wikipedia.org/wiki/Equinox_(1993_video_game) SNES, 1993; composers: Tim Follin and Geoff Follin Link to the original soundtrack (if it is not one of the sound archives already available on the site): https://youtu.be/RW3bsU_9rwY Your own comments about the mix, for example the inspiration behind it, how it was made, etc.: Hello again OCR, I’m back with another track for you. I actually started this piece quite a few years ago now but recently dusted off the project to finish it up because it seemed like an arrangement worth completing. The sound design is perhaps slightly uneven because of that time gap in production, but I polished it all up and I think it turned out well. Because I took some liberties with the arrangement, I wanted to take a moment to go through the source usage in this track. I didn’t use the entirety of the original because it’s quite lengthy/atmospheric. The plucked melody in the original that starts around 0:44 shows up prominently in my arrangement at 1:02. The lead melody at 0:53 in the original is the basis for my “verse” melody that plays at 0:25 and 2:55 in my arrangement. The melody at 1:05 in the original is the basis for my “chorus” melody that plays at 0:43 and 3:14 in my arrangement. The section of the original that starts at 4:25 (Rexy's note: technically 0:00 as that's when the track loops) is the basis for my bridge section that starts around 1:31. Thanks! -- aluminum

RebeccaETripp Rebecca Tripp http://www.crystalechosound.com/ ID: 48262 Game(s): Skyward Sword, Breath of the Wild Song Title: Treading the Maze of Trials Songs Remixed: Sealed Grounds, Sheikah Tower Gamer of the Winds helped with this one as well!

ReMixer Name: PSK Real name: Per Kiilstofte Email Address: Website: https://per.kiilstofte.net UserID: 35773 Game Arranged: World of Warcraft Name of Arrangment: Legends of Warcraft Songs arranged: Legends of Azeroth (Composer: Jason Hayes), Elwynn Forest (Composer: Jason Hayes), The Barrens (Composer: Derek Duke). Comments: I’ve always been a big fan of Warcraft, since Orc’s & Humans in fact. I also used to play quite a bit of WoW. When I saw the recent WoW expansion coming out I got quite nostalgic and just had to create some music, which eventually became Legends of Warcraft. While the track clearly builds around Legends of Azeroth by Jason Hayes, there are also two nods to both Alliance and The Horde in the piece at 1:14 (Elwynn Forest) and 2:08 (The Barrens) respectively. Using Legends of Azeroth as the base with two iconic motifs while creating a highly epic sounding orchestral composition I feel encompassed the essence of Warcraft, and in particular the latest expansion “Battle for Azeroth”. Thank you for your consideration

Game Arranged: Skies of Arcadia Name of Arrangement: The Silver Crystal Song Arranged: Fina's Theme Commentary: "I had been in the process of working on my own interpretation of Fina's Theme when I was asked to take on Fina's Theme for this remix album. For this remix, I included some inspiration from "Short Skirts" by djpretzel and Vigilante, as well from the track "To Impress the Empress" from the Nujabes compilation album Modal Soul Classics. Where most tracks I do usually take about 2 weeks to a month to complete, I set a personal record for myself with this remix as I finished everything within about 3-4 days. The result is a smooth jazz-y, breakbeat-y thingy that I hope you'll be able to chill out to."

ReMixer name: Michael Hudak Real name: Michael Hudak Name of game: Skies of Arcadia Name of arrangement: Antarctica and the Moon (Dec/Jan) Additional Info: Sending a WAV. Thrilling! Hi there! The idea of using this particular track from Skies of Arcadia came from the terrific “Arcadia Legends” album released at the end of 2018. I'm a big fan of that game's music, but missed out on contributing a track to the album because I was too slow. “Dungeon of Ice” was one of the few tunes from the OST that wasn't remixed from that album, and it happens to be one of my favorites from the, so this was an easy choice. The original uses your typical frosty “ice level” sounds, but in a lilting jazz arrangement. Lots of melodic and harmonic richness. Now, I've been watching a lot of Scott Walker interviews recently, and he talks about his music-making process as being a “reductive exercise”, stripping down the grand musical ideas in his head, and then dressing songs with only what really matters. I find this quite interesting, so, my idea for this one was to consider the “Dungeon of Ice” source as an already-produced remix, and think of what the true original could sound like, without ever hearing it. The end result is somewhat of a spiral – looping but also linear, cold and warm at once. Additionally, I've been very interested in the work of Carsten Nicolai, who experiments with repetition and extreme frequencies in music. According to him, if the brain is exposed to a large frequency spectrum, it sort of diverts attention from the ones more difficult to perceive. But, what if we are ONLY exposed to frequencies that our brains like to divert attention from? The first section of this song presents that question, and is an experiment in how we become accustomed to high frequencies, and perhaps don't even notice some of them until they're gone. Nothing too harsh; not trying to be completely subversive and not have a chance at passing the judges. (I had to carve a huge notch at around 4.5 khz because it was painful). The second part o the song is similar, just on the lower end of things, with most of everything being under 1,000 hz. How does this butting up of high and low frequencies make you feel? In the context of this “reductive exercise”, I personally think the final result is more interesting than if the two parts were playing at once. They could be layered on top of each other to make one fuller-sounding piece, but side-by-side, they're two different versions of the same feeling. I think the toughest part of making this was finding the right amount of repetition to hook our reptile brains, while also keeping the song engaging for those unfamiliar with the source. (I have my own 8-minute version that I use to sip tea with.) I know this might be a tough one to evaluate, but I hope you at least get something real out of it! Thank you!

Original decision Remixer name=Audiomancer Real name=Eric Email= game=Dragon Warrior 2 Arrangement name=Epic FootSteps Name of song=First walk-about theme Link to original= I thought I would give this tune another shot at the panel:) I've made changes based on the feedback given, and I hope that the panel finds this to be a more polished version with some better instruments, and small arrangement changes.

Hello, Key facts on us and on the ReMix: ReMixer name: BigLeagueBoys Real names: Jack Cunningham and Luke DeMuro OCR Forums Userid: 35898 Game arranged: Pokémon Trading Card Game (GBC) Arrangement Name: "Card Shark Shuffle" Song Arranged: "Duel" We hope you like it! More about us: We're BigLeagueBoys - the VGM dream team made up of Jack Cunningham and Luke DeMuro. Jack was the first intern over at OC Records (hi Larry!), and Luke owns and operates a private home recording studio. We've been arranging game tunes together for about 8 years now, but have only released our works to smaller audiences. When considering submitting to OCR, we landed on this track as our first choice immediately. Both of us had played the incredible, underrated gem that is the Pokémon Trading Card Game GBC game, and both of us were stunned that this principal track hadn't been attempted on OCR before. Pokémon TCG is a simpler take on the series compared to the mainline games, but it's just as much fun to play, and the soundtrack is just as memorable. I'm sure that the analog between "comparatively simpler gameplay" and "comparatively less technical music" was deliberate, but really we just like this soundtrack because the music does more of the heavy lifting when it comes to being totally immersed in the adventure. After all, something needs to smooth the transition between monster fighting and card collecting, right? Our approach here was what came most naturally to us: beef up this criminally misrepresented track with a groovin' bassline, sick guitarmonies, and the rhythm section it deserves (did you pick up on the auxiliary percussion bit at 2:37?). From there, the blues riffs and trumpets helped to really pack a wallop the second time through, and the last part... well, we couldn't resist. Some card clubs in the 50s used to sing, right? Anyway, thanks for your time in reading and listening. Looking forward to making much more! Sincerely yours, BigLeagueBoys

ReMixer name: VelkkuEvilBastard Real name: Veli Matti Suhonen Userid: 35294 Name of game arranged: Castlevania (NES) Name of arrangement: Wicked Bastard Name of individual song arranged: Wicked Child Composer: Kinuyo Yamashita Link to the original soundtrack: Own comments: I have loved this song from the moment I played Castlevania for the first time when I was around 10 years old. I try to be pretty faithful to the original arrangements and bulid my own stuff on top of that cos' it brings my piss to a boil when you have a metal remix of some tune and it's just filled with double kick and "djent", it just feels so lazy to me. Hope y'all enjoy what you hear!

RebeccaETripp Rebecca Tripp http://www.crystalechosound.com/ ID: 48262 Game(s): FF10 Song Title: A Maiden’s Prayer Songs Remixed: Hymn of Fayth

Overclocked university and Oceansandrew DJsnivy’s smooth moves Pokémon black Route 12, gate, Musical: "A Sweet Soirée A mix of some of my favorite tracks from Pokémon black, I really love Hitomi Sato’s chords, and I think I’ve blended the three themes pretty well. Has a good dance beat and some funky bass playing. https://overclockedrecords.com/release/spring-break-dj-set/

Remix Title: A Full Moon Rises Over Nowhere Remixer: Somewareman AKA Ben Molulon Game Arranged: Mother 3 Songs Arranged: Mind of a Thief (Duster's Theme): http://earthbound.wikia.com/wiki/Mind_of_a_Thief?file=MOTHER_3-_Mind_of_a_Thief Going Alone: http://earthbound.wikia.com/wiki/Going_Alone?file=MOTHER_3-_Going_Alone Gentle Rain: http://earthbound.wikia.com/wiki/Gentle_Rain?file=MOTHER_3-_Gentle_Rain Now here's a little something I've been working on for a while. I've spent quite some time figuring out FL Studio, and now I might just have something of acceptable quality to submit. (fingers crossed!) Mother 3's always been a special game to me, and to a lot of people it seems. I actually heard a lot of the game's music before I was ever able to play it, and Duster's Theme was one of my absolute favorites. I kept pretty conservative with the remix. I wanted to keep the laid back, quaint, yet almost melancholy feel that a lot of Mother 3's music evokes while changing up the rhythm here and there so the track doesn't feel too stale. Mother 3 is a treasure trove of hundreds wonderful tunes. Impressive, considering it's for the Gameboy Advance. I wish it were more accessible to people so we could get more awesome remixes.

OC Remix I'll try my best to follow the instruction on th site for the submission, in case of any missing fields please contact me: Personal Information - ReMixer Name: DuplEx - Name: Leonardo - Website: https://www.youtube.com/channel/UCwzl8YLwMk3dP41oT-3Xhyw?view_as=subscriber Submission: - Game: The Legend of Zelda Ocarina of Time - Name of the Arrangment: Cataclysm - Original name: Song of storms/ Windmill hut Hope to receive a reply soon, Farewell DuplEx

Contact Information: ReMixer name: soundyg Websites: Youtube: https://www.youtube.com/channel/UCnHzXLbVzwdiOyVr0nE9aSg Soundcloud: https://soundcloud.com/user-67701778 Submission Information: Name of game arranged: F-Zero Name of arrangement: Brass City Name of individual song arranged: Mute City An arrangement of the theme originally composed by Yumiko Kanki Link to the OcRemix page for Mute City: https://ocremix.org/song/2/mute-city Produced in Cubase, please enjoy!

Name: Farce Deity Real Name: Bobby Wehner Email: Website: https://www.youtube.com/channel/UCT82toAA6qwAs0LIRPKOyFQ Game: Chrono Trigger Song Title: Secret of the Forest ("Stop It You Dog!" Mix) Original Song: Secret of the Forest

ReMixer name: Schtiffles UserID: 32762 Game: Tetris Original Arrangement: Korobeiniki Remix Title: T-Spin

RebeccaETripp Rebecca Tripp http://www.crystalechosound.com/ ID: 48262 Game(s): Breath of the Wild Song Title: Legend of the Koroks Songs Remixed: Korok Forest Gamer of the Winds also performed this with me! He has given permission to submit it.

ReMixer name: Hanging Waters Real name: Withheld (please contact via email if needed for legal purposes) Email address: Website: https://www.youtube.com/channel/UCRlQGhP1jx50S59UV7JNn7Q Userid: 35742 Game arranged: DeltaRune (Chapter 1) Name of arrangement: Groove Buster Name of individual songs arranged: Rude Buster, Field of Hopes and Dreams Composer: Toby Fox Game Platform: PC Game Release: 2018 Comments: This electronic funk fusion re-imagining of the DeltaRune battle theme aims to maintain the spirit of the original while ramping up the adrenaline. The slapping bass, spaced out square and sawtooth leads, staccato horn synth, and heavily reverbed pads attempt to give the tune a new sense of atmosphere. After a brief venture into 7/8 and an extensive synth solo, we fade out into Field of Hopes and Dreams and reach a dramatic focal point, before climbing up to one final drop and then reminiscing with a transcription of Toby Fox's original Rude Buster solo.

Dear OCR Judges Panel, Skies of Arcadia remix coming up. I was told to submit it by the people responsible for the Arcadia Legends album. Contact Information: ReMixer name: Glejs Real name: Glenn Liljestrand Website: https://www.youtube.com/glejsmusic User ID: 34608 Submission Information: Name of game arranged: Skies of Arcadia Name of arrangement: Unknown Menace Name of individual song arranged: Zelos My own comments and info: Proud to be part of the "Arcadia Legends" OCR album. I came in to the project late, had only three songs to choose from. Zelos, the final boss tune, caught my ear. I was thinking, hmm drum'n bass hmm techno.. it took a wild turn to trance. The 90s kind of rave-y trance, with a little bit of breakbeats, orchestra hits and synth stabs. I sampled tons of FX, vocals and instruments straight from the actual game. In fact most of (or at least half of) the instruments you hear are from the game. I chose to remaster the song for this single release, because the master that was done for the OCR album didn't really sound the way I wanted it to. I talked to the mastering engineer about it, and he was completely ok with this. Hope you enjoy this one, I had a lot of fun composing it! All the best, Glejs (pronounced "Glaze")

ReMixer Name: COEURLAMARI Real Name: Sarah Arsenault Website: https://coeurlamari.bandcamp.com Userid: 34683 Name of game arranged: They Bleed Pixels Name of arrangement: CLAWSHANK REDEMPTION Name of song arranged: SCOURGE Additional information about the game: Developed and published by Spooky Squid Games Soundtrack composed by Shaun Hatton (aka megashaun or DJ FINISH HIM) Released on Steam for PC, Mac and Linux on August 29, 2012 OST in full is on Mr. Hatton's Bandcamp Comments: This is the first time in the ten years I've been making my own music that I've felt ready enough to submit something to OCR's evaluation process, but even if it doesn't make the cut, I'll be more than happy to take on critique so I can grow as an artist and do better next time. They Bleed Pixels is one of my favorite indie games, and has one of my favorite game soundtracks. I waited for years after playing the game before trying to remix my favorite track, SCOURGE-- I wanted to do it justice if I was going to tackle it, and hopefully I managed that much! Imagine for a second that you're a particularly discerning shambling horror-thing hitting the R'lyeh party scene on a Friday night; this is probably what you hear thudding out of the hottest discotheque in town when you roll up. Place is packed. Yog-Sothoth probably bought everyone a round of drinks in there. It's a pretty good time. That in a nutshell was the kind of vibe I was going for. I differentiated my track from the source material mostly by trying to abridge the longer-haul, more ambient arrangement of the original and give it a more dynamic dance tune kind of sound with clearer, brighter instruments and different, varying drum patterns and some quicker movement through the melodic sections it has, since SCOURGE kind of has that grungy, bitcrushed, dark 80's dance hall aesthetic to it that reflects in the whole OST. There's a background synth pad I used to kind of apply a flanging, panning "growl" tone to try and give it a bit of a dark undercurrent, a little Lovecraftian madness under all the fun. I made this remix in an iPad app called Auxy, using some of both the free and paid-for instrument packs it comes with - it's super useful for super impoverished musicians like me. Since it's designed to be very loop-based and drum-machiney, I did my best to bend the app's limitations, give my remix a lot of variety and avoid any lazy outs to keep it from becoming too repetitive. Source link

This is my submission for a remix I did from Final Fantasy XI : Rise of Zilart. ReMixer name: brink-of-time Forum userid: 3661 Name of game: Final Fantasy XI (more specifically, the Rise of Zilart Expansion) Name of arrangement: Grav'iton's Dream Name of song arranged: Grav'iton It's been a long time since I have submitted anything to OC Remix (over 10 years!). I don't dabble in music as much as I used to. But I still try to write or remix on occasion. This is a remix that I have been working on and off for about 6 or 7 years. I personally have never played FFXI, but I really like the soundtrack. This track in particular is very good. I had alot of fun remixing it in a more of synthwave sorta feel. I like it. I hope you all do too. -brink

I appreciate the cinematic palette here. The structure is merely one run-through of the theme and an ending, but the instrumentation and effects changed up the entire mood while maintaining the source's most melodic components. It's a more subtractive take, which I highly acknowledge for a track of this length. There are a few things that held me back, though. Firstly, the mixdown feels fine for the most part - great use of spacious reverb, the instruments are panned appropriately, and the components are mostly cleanly mixed. But I have to give a push to the staccato trumpets (starting at 0:32) and the string section (beginning at 0:46). In their respective segments, they're carrying a significant amount of source representation, yet they're too faint to identify them at first glance. The bell sequence at 0:32, albeit not holding source, also is way too far into the background. Try bringing their volume levels up - yet for the staccato brass, you ought to cross-check with the EQ on the tuba, so their frequencies don't bleed into one another. Additionally, the execution sounds painfully robotic. Don't get me wrong - your samples are beautiful and make the concept feel so much more vibrant. But when the velocities are constant across all instruments, the realism gets taken away. I'd like it if you can take some time to go over your notes' velocities, then decide which one you want to emphasize and which can be better off more subtle. No real-life performer would play all notes in a sequence the same way, so do take that into account. It's a respectable concept, but I don't think it's quite there yet. I can respect the brevity of the arrangement, but when mechanical writing and some quiet instruments become concerns, it's ended up as a hard sell. It'll be nice to hear a version that addresses the production flaws, so I hope you get a chance to return to this. NO (resubmit)

Compared to the previous submission, this is a substantial improvement. The aesthetic is still there, the source remained dominant, and the instruments remain clean. The bass drop-out at 1:07 got reworked as a breather, and the revised groove and added source permutation at 1:32 added reasons to hold back. That second section alone added more meat to the framework for sure. Not only was it different enough from the first variation, but the groove's progression felt different. There's the vocal sampling, the stutters, the non-static presentation for the percussion, and that pitch shift at 2:00 that threw me into a loop. The only thing I feel that's missing is a hi-hat sequence, but when brought into a lo-fi direction, they would've been hard to hear anyway. Much like prophetik, I still don't quite see it as vaporwave as the second half went into more experimental pacing territory and emphasized the glitched effects. If anything, it quickly turned into the musical equivalent of a shitpost - which is fine, as the arrangement and presentation values have set out to meet a clear goal. Based on this, I believe the track can get onto the front page in its current form - a mix that emphasizes creative drive, but it won't be a popular one based on style alone. Michael, if you are to get a debut, let this track be it! YES

Link Original Decision ReMixer name: bsolmaz13 Name of game: Mega Man 4 Name of arrangement: Cossack Skies² Name of song arranged: Dr. Cossack Stage 2

I'm not sure how you did it, but you made the track source dominant without using any part of the main melody. With source use stripped back to the arpeggio in section A, I can see why you opted to go for the "evolving soundscape" route - and with the way the track paced itself, it makes for a calming listen in a vacuum. However, it's how the arpeggio got used that counts - and all I heard was the same 8-bar formation, with 4 bars of the original scale and 4 bars of it transposed down two semitones. Even with the pleasant subtractive writing, the source's use doesn't develop throughout and remains static. While it can be possible to change up the pacing of the arpeggio, these open spaces are ideal for you to fit in whatever parts of the main melody you see fit. The production sounds serviceable, but two further issues stuck out: First of all, the track distorts whenever the kick pedal shows up. As you have a big sub-bass tone, the two instruments as they are have left the mix prone to clipping. Since both of them are slow-moving, I can see a side-chain on the bass taking the edge off. An EQ cut could be possible if you don't want to side-chain, but it'll also be riskier to execute. The Rhodes piano carries the source, thus it shouldn't sound shrill and bone-dry. In an ambient setting, leads are expected to feel just as aired as the accompaniment around it. Additionally, the shrillness is present because the resonance is overpowering, especially during the intro and at the breakdown at 1:47. To address the first part, consider adding some subtle reverb; and for the second part, see if making a high EQ cut can ease it off. As it stands, I can't accept the track in its current state. The source use is underdeveloped, and the harsh sounding kick and Rhodes piano didn't do any favors either. It'll be nice to hear another version with more arrangement content and the two problematic instruments fixed. With ten years of production-related passion behind you, I hope you get the chance to contribute to the community as well as return to the inbox in the future. NO (resubmit)