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i love the pkmn blue/red soundtrack but it sounds so bad on youtube. always liked this original though. neat intro. there's a ton of space given the chords and synths in the beginning and it really sounds great. the melodic content actually comes in at 0:40. huge amount of sound, intentionally loud and weird, and it sounds great. the piano's a bit quiet, but honestly the intense buzz and strangeness is more the point. there's a monster build that hits on a absolutely mega-ballsy long-attack synth drop at 1:20 that is easily the best thing i've heard in two months. i literally made the ooh yeah face when it hit. i love the lead synth in this section too, it's got just enough envelope manipulation to really make it feel different. there's another big drop and build at 1:48, with a reduced version of the melody before the swell comes in. the build at 1:55 particularly sounded great, i love the repeated aggressive synth pattern especially after the vox clips come in again. nice bait and switch on the hit at 2:52 - another short fill into the original's arpeggio as the lead instrument, and then we're into a big falloff for the ending. mastering sounds great, track is awesome. easy vote. OOH YEAH

Soon as I saw the title I thought of the Rolling Stones song, and translating the lyrics into Latin is a fun idea that works really well in the epic orchestral/choir style. It also ties in perfectly with the context of the game, so it's kind of a win-win-win! The opening choir sounds great, and then when the heavier elements come in, the piece really starts to take shape. There are a number of interesting mixing decisions on show here. Other judges have mentioned the seeming narrowness of the frequency range - the highs in particular seem to lack some clarity, and also individual instruments seem to lack presence when it feels like they should be chunkier. The rhythm guitar around the 2 minute mark is backing off to allow the deeper strings room, but it sounds very thin as a result. Certain elements also seem to move around the stereo space with a slow LFO, which can be a little disconcerting when listening on headphones. The arp at 3:30 and the autotuned vocals at 2:27 were particularly noticeable for this. Those vocals didn't quite fit the vibe of the track I thought, sounding more like 'Blue' by Eiffel 65 than anything Black Guitar solo was awesome, could have done with standing out more in the mix, but it fit really well. The "Paint it blaaack" vocal treatment at the end worked great - I kinda wish you'd done this type of distortion for the 2:27 section now! Overall though it's an ambitious idea that's executed well. The drawbacks aren't big enough to drop this one below the bar, and I love the concept behind it. YES

RebeccaETripp Rebecca Tripp http://www.crystalechosound.com/ ID: 48262 Game(s): Hollow Knight Song Title: Blue City Songs Remixed: City of Tears

Hey guys. Long time fan. You rejected my first submission like nine years ago. It was called Monkey Nostalgia, a rework of the Ending Credits Concerto. I've got some fresh trance for you this time on one of the classics. I hope you like it. Let me know what to tweak if it's not to your liking! I'd love to get my work on here and get some promotion for my other projects! Feel free to shout out my YouTube channel if you want to support me!

There is a lot of great stuff in here - I acually love the interpretation of the source. It's a repetitive source, but you managed to make it feel more like a journey through the woods, and less like a jog on a treadmill, which the original did for me. That little break at 2:45 and 2:55 were lovely, I love the use of silence. I have a couple of critiques, though. The bassoon (and occasionally bass clarinet) is really jarring. It sticks out, comes off flat with no vibrato or any real dynamic adjustments within lines. I don't hear any place in the piece where I thought the bassoon blended well, and it throws you out of the magic of it. Some of the releases, particularly in the strings in the beginning and the ending, and the oboe in the beginning as well, need some work. To me they sound cutoff and stilted. This is the same with the tremolos in the low strings just before 1:00. The way they end and come back in, rather than sounding smooth, almost gives the idea of a sidechain compression effect, which I don't think works for this piece. This is a really beautiful piece with a wonderful atmosphere, but it needs some attention to detail on a couple of the instruments before I'd give it a pass. NO (resubmit)

RebeccaETripp Rebecca Tripp http://www.crystalechosound.com/ ID: 48262 Game(s): FF4 Song Title: Mountain of Light Songs Remixed: Mt. Ordeals Here’s a link: This is my arrangement of “Mount Ordeals" from Final Fantasy 4. The original song, composed by Nobuo Uematsu, is not only one of my favourite tracks from FF4 OST, but also one of my absolute favourite songs of all time! I've been wanting to create an arrangement of this theme for many years, but felt I couldn't really do it justice. The Mt. Ordeals segment of the game is extremely important to me — I would go as far as to say that it was an extremely formative experience for me. There's a strange, yet beautiful feeling associated with that mountain, and, to a lesser extent, Mt. Hobbs, that I struggle to put into words. In this remix, I tried to create a sense of lurking powers, both good and evil. Magic and mystery, courage and challenge. I wanted to make it sound like the mountain is alive with spirits, magics and histories, and as though the heroes are marching towards the summit. I also tried to include something of a “Lunarian" presence towards the end, for obvious reasons.

This is my arrangement of "Beyond the Deep Blue Sea" from Final Fantasy 5, originally composed by Nobuo Uematsu. This song (the original, and now, especially this remix) is deeply personal for me. It resonates with a lot of memories, and some of the things currently going on in my life. Creating it was a highly emotional experience. Although this was already one of my favourite songs from FF5, it was sort of a commission. This track was nominated and voted for by my patrons on Subscribestar. If you're interested in voting/nominating in the future, you can subscribe to me here: www.subscribestar.com/rebeccaetripp A new song (usually a VGM remix) will be chosen every month.

Hello OCRemix, After posting on the "Post your game remix" forum, I wanted to submit a song from my album to confront it to a new audience. Contact Information ReMixer name : Black SeeD Email : Website : https://blackseedbm.bandcamp.com/releases Userid : 37884 Submission Information Game arranged : Pokemon (Red&Blue and other versions probably) Name of arrangement : A Scent of Lavender Song arranged : Lavender Town Comments : Hello everyone ! This track is part of my album of remixed video game tracks in an atmospheric black metal way (you can find the whole album here : Black SeeD - Farplane of Memories (2021)). The goal of this track and the album in general was to work with songs on which I felt that I could emphasize melancholic themes with my favorite music genre. This one also has some original melodies to make it a whole song and not just a cover. The original Pokemon theme is distributed through the whole song, pretty much with all instruments at some point kind of as a "ghost melody", at least that's the feeling I tried to give. I hope you'll like it ! Thanks a lot !

remixers: OceansAndrew and Overclocked University source: https://www.youtube.com/watch?v=B5n-s2JKCq4 remix: Even though listening to the source you could really imagine it as a great 70's flavored horn-fueled rock song, I decided to try a completely different angle. during the process, I learned a lot about myself, life, and pokemon during my journey. Did you know that they are all related in a giant tower of life? I didn't either, but you can't deny the facts! Anyways, this was definitely a genre experiment for me, but I think it brings a fresh trist to a classic theme.

Been a while since I submitted something, Wanted to share this one because I feel the marriage of middle eastern instruments and the original source do magic together. This is an Arabian Trap remix of the cave theme from Super Mario Bros. 2 and was originally intended for NESterYears 2. I ended up scrapping that project and am pursuing SNESterYears instead. So in light of that, I wanted to submit this gem to OCReMix to celebrate that I am still remixing after 20 years. Cheers, Jordan

Hard disagree with DarkSim that the remix must sound better than the original. If that were true, no one would remix anything from certain games! If I had a dime for every remix I've heard that was not as good as the source, well I'd have a shitload of dimes! Yet, those remixes are still great in their own ways. I think as long as the mix sounds good on it's own and is produced well with enough variation, that gets it done for OCR's standards. In Rebecca's case she often melds multiple sources into a cohesive arrangement that tells a new story, as she has done here. Sometimes her instruments lack realism which can kill the mix, but in this track what I hear is real enough and mixed well enough not to stick out extensively as fake, although I do agree with MW about the overuse of tremolo, it's unnatural, but it does fit the vibe of this particular arrangement. I also agree with DS that the tremolo cutoffs are way too abrupt, oof. As usual, the mastering is non-existent and I honestly fail to understand why this has not been improved since we all mention it on every submission. Please reach out for assistance Rebecca, any one of us would surely be glad to help you master or learn to master your lovely arrangements! All that said, this mix transports me to that special "Rebecca Magic Place" and I think others will be transported there too. YES

previous decision remixer: ad.mixx name: Aaron Corbitt game: Pokemon Mystery Dungeon: Red Rescue Team source tune: Sky Tower Summit name of arrangement: Cowboy Chimpazilla comments: I fell in love with this mix when I first heard it, and the lyrics really spoke to me. But I had to agree with my fellow judges that the low end had no punch and was too quiet. I asked that Aaron address the issues and send it right back. He made some changes and reached out to me for a listen. I felt it still wasn't mastered well enough for the quality of the track. We got to talking, and Aaron asked me if I'd be willing to final mix and master it, which is something I love to do. He sent me a zip of stems and I did my magic tricks. We both think it sounds excellent now! Submitted for your approval. And Aaron and I are discussing some collabs too! ad.mixx comments: From my side, this came together fairly quickly. About two weeks as compared to months it's taken me on some songs. Mystery dungeon has great music, and as soon as I heard this song I knew I had to make it into a beat. The composition is note for note mystery dungeon, but I added some soft spoken vocals onto it to give it more edge. The source is dramatic and tense, and I wanted to keep that same kind of energy while changing the style entirely. I believe it succeeds on that front, and hopefully the vocals are catchy enough to keep people bopping their heads. Awhile after finishing the arrangement, Chimpazilla offered to do some mixing and mastering on the song, and it absolutely shattered my world what she did with it. I liked the song, but she came and absolutely brought out every single element to make it pop. I'd say this would have been a pretty mediocre post if she hadn't come along so thank you to her so much. I think you all will enjoy the final product. Full lyrics are in previous decision link.

Contact Information Rus Gordon rusgordon.tumblr.com 34236 Submission Information Mega Man Battle Network 3 Alpha, the Defect Vs. Alpha (Final Battle) Original: https://www.youtube.com/watch?v=h-APlyE-HbQ I was surprised how funky, fast-paced, and weird (for a final boss theme) this song was when I first heard it. As a challenge, I wanted to pick a song that I wouldn't be able to turn into a typical "metal cover" verbatim, so to speak, so I had to stretch out what was there, since the original theme is just under 1 minute long.

I am SO glad this made its way back to us! I was on the fence about being willing to pass this in its initial form, but hearing this new version in comparison, I'm glad the vote went the way that it did. The drums are so much more nuanced and full of life here, the mixing is much cleaner and less harsh on the ears, and you did it all without sacrificing any of the whimsy and General MIDI magic that made the original version so fun in the first place. Y'all did some fine work here! My only complaint is that the new master is comparatively quiet - it sounds like this was mastered for streaming, so I find myself having to crank the volume up to get it to sound comparable to the first submission. It'd be awesome to have a version that's specifically mastered for CD levels to match the bulk of the OCR catalog, but that's just a "nice-to-have" YES

I DON'T KNOW WHO THIS GUY IS BUT HE KEEPS SENDING US MUSIC... (don't know source that well) - djp -- OA Skies of Arcadia - "Blue Skies, Pirate Surprise" Source: Blue pirate's ship https://www.youtube.com/watch?v=ZNKWn8nxu_E It's a dance rock version of the Blue pirate's ship. THis was a fun game that I enjoyed a lot in the early 2000's, even though the encounter rate was super high. It was fun to explore and find cool hidden places, and the constant battles were made bearable by me doing 5 pushups for every battle. Literally thousands of pushups later, here is the remix!

On first listen, you’d be forgiven for thinking that this track starts at 1:25, with that beautiful piano rendition of the melody from "A Broken World". That was the point at which I really sat up and took notice. However, on repeat listens, there’s a lot of detail and, I would say, confidence in this arrangement. I definitely hear the Ghibli/Hisaishi influence here. To attempt a “soundtrack” style orchestral ReMix using pieces from many FF7 sources shows great depth of knowledge of the game, and a strong emotional connection, which shines through the piece. I’m sure fans of the series will love this immediately, although for a listener who has never played FF7, I would say that it took me a few listens to appreciate everything you were trying to do here. It definitely requires more concentration to listen to than most of the music I listen to regularly, but that’s no bad thing. There are moments of magic, such as 1:25, and the orchestration is beautifully done. Not my usual cup of tea, but definitely worthy of the front page. YES

Goodday! This was a welcome and refreshing submission to hear something of this genre, though I feel there is still some work left to be done in order to bring it up to standard. I thought your tin whistle and melodica performance was technically quite strong, although both sound generally flat overall with some odd sharp notes, which does personally distract me (eg. the melodica’s A at 1:50 and 1:59 being too sharp, the whistle’s A being flat at 2:58.) Having played whistles before, I know that it can be particularly hard to either not sound a little a bit off in the context of other instruments, and we are also often at the mercy of our particular whistles, as well as many conditions out of our control. As an aside, I can tell you from my own experience that the Finnish winter and playing whistles outdoors is not a fun combination! The melodica is also one such instrument, especially the lower-budget models, that leaves us at the mercy of their current tuning during performing; all of which have little variations. I’ve often found that a bit of light pitch correction/tuning/melodyne in these instances on the instrument completely solves any unpleasant flatness and sharpness, being careful not to over-pitch correct and finding just the right balance, so as not to detectably flatten the intricacies and magic of a great instrumental performance. It’s such a small thing, but for more pitch-sensitive ears this can have a big impact one way or the other. Sometimes, needs must! I enjoyed the octaval layering you’ve done, with the combination of melodica and the whistle. On a whole, the guitar and drums sounded pleasant to me with a nice energy and sense of depth. I think the drumming could benefit from some humanisation though! The one thing with the drums that I did pick up on was at 3:55 on the intense hits at the end, the second-to-last hit falters and comes in quite relatively past the beat than the other hits. This causes a sudden and unfortunate unintentional drop in intensity riiight at the finish line, but it’s a pretty easy fix to move a drum hit onto the beat. Overall, the mix could do with some work to make it more balanced and pleasant on the ears. I wouldn’t mind hearing the melodica stand out a bit more in the mix, as it’s a little on the dark and muddy end ever so slightly; currently it’s loud enough to hear that it’s there, but not really loud enough to be present or make a proper impact. In the same vein, I would like to hear the whistle sit more aptly in the mix as opposed to sounding like it’s stood on top of it. I would revisit the EQ, perhaps reduce the wetness of the reverb or decrease the reverb tail, or try a different reverb. It could be that a bit of light delay would add something to those instruments too, but that’s up to your own judgment! In summary, this is very nearly there and I think it could be a “yes” from me with just a few tweaks, namely the mixing and slight relative pitchiness of the melodica and whistle, and clean-up at the end on that one drum hit. Another look at the humanisation of the drums to add some variety would be nice, as well as at the production of the track in general. I think you’ve gotten a lot of good advice from the judges so far to help you get this track to where it deserves to be! Even though it took 7 years to get to around to getting this far, I don’t think you’d thank me for withholding any pointers, if it meant unlocking the gloriousness that this track could be (and soon may well be). NO (resubmit)

Remixer (and real) Name: Michael Hudak Link to my SoundCloud: https://soundcloud.com/user-513303599 Name of my arrangement: "999 Knives of Yellow Magikarp Orchestra" Name of games arranged: Pokemon Sun/Moon & Pokemon Red/Blue Name of songs arranged: From Sun/Moon it's the "Malie City" themes (both the day and night versions), and from Red/Blue it's "Caves of Mt. Moon". Hey there! Thanks again for all your hard work. The explanation for this is a tiny bit complicated because there are TWO versions of "Malie City", and TWO versions of a classic track called "1,000 Knives", which were hugely inspirational in the making of this new track. As for the breakdown of source usage, I mainly used the "Day" version of "Malie City", which for my money is the best 1-minute loop of anything from the Pokemon series. My arrangement uses it from 0:00-1:12, 1:48-1:53, and 3:08-3:44. The first 5 seconds of the "Night" theme has a little part I love that I included in my arrangement from 1:31-1:47. The main riff from "Caves of Mt. Moon" from Red & Blue I used in my song from 2:33-2:37, 2:42-2:48, and 3:44-4:34. The noise at 0:58 is the original Magikarp cry. In regards to the title and the inspiration (other than PKMN-related stuff), Ryuichi Sakamoto's "1,000 Knives" is one of my all-time favorite songs, featuring great Eastern melodies played on some very old-school synths, as well as an awesome extended guitar feature. Sakamoto was also in the now-legendary group Yellow Magic Orchestra, who later arranged their own version of "1,000 Knives" in 1980. Theirs featured a serious analog perc line and the very first usage of the Roland TR-808 in a recorded song! So, I've got the Pokemon stuff mixed in with a guitar feature (which is a bit loose purposefully, to humanize the programming a little), plus bass arps, classic synths (plugins!) perc runs, and big drum sounds, all to pay homage to the incomparable Sakamoto-san and those early 808 tracks, like "1,000 Knives" and "Searching for the Perfect Beat", by Afrika Bambaataa and The Soul Sonic Force. I mixed it for a more retro effect, too. Hopefully it all works for OCR, because I love this one!

Oh harp and bawu, two of my favourite instrument! I don’t think I’ve paired these two together often enough at all, so thank you for the inspiration. I’m certainly not the world’s best bawu player by any means, but I was very impressed with the realism of the performances. Whilst I can hear that you’ve used a bawu sample library, I don’t think that many people would because the ornamentation is confidently chosen and realistically playable, which is not an easy thing to do. I’d go out on a limb and say that you’ve probably listened to a bit of traditional Chinese music or soundtracks, but even if not, colour me impressed. The atmosphere you create with this is really great. For some added magic, one could always add an extra pad/soundscape/element that is a little less flat, (a few examples off the top of my head: some chimes, reverse ethereal choir, or some light arps). This would especially benefit the intro where that pad comes in immediately and stays quite static and (very almost) exactly the same until the note finally changes at 0:23. This is a very small thing though and it’s more something to consider for the future to take it to that next level. I enjoy the rest of the elements of your arrangement too much for something that small to affect how much I like listening to this! I really dig the energy the guitar brings to overall mood of the arrangement. Melodic electric guitar is always so satisfying to me, especially in the context of more folk/world instruments meandering around it. The more I listened to it though, I did find it off-putting that the sequenced guitar parts were the same throughout. The articulations you chose gave it some character, but also made the copy and pasting of those parts stand out even more. This is also true for the drums, that could have benefitted from a lot more variation. The drums are lacking in energy and sound robotic and tired, but this isn’t a dealbreaker for me in and of itself. On another note, the addition of the cello at 1:17 was gorgeous and very welcome. This was a difficult piece on which to fall on a final decision. After giving it a lot of thought, seeing as it took me multiple listens for the lack of variation I pointed out, I still very much loved hearing this track, which ended up being my overarching takeaway. I’m very looking forward to following what other magical creations you send out into the world in the future! YES

Now here's something you don't hear every day! Arrangement has that swirling, old-school Disney feel to it... this would have been *brilliant* with Frank Sinatra singing, but Chris lays down a vocal that for the most part keeps up with the accompaniment. - djp Link to file: Contact Information ReMixer name: Chris Muggli-Miller Email address: Forum userid: 16184 Submission Information Name of game: Lunar: Eternal Blue Name of arrangement: Blue Star Prayer Name of original song: Lucia’s Theme My comments: Lunar 2 was one of those games that affected me more strongly than it had any right to do. While I thought the ending song was a perfect way to end the story, part of me wondered how it might have sounded if it had been a full orchestra production, like the ending themes from Final Fantasy games with which I was more familiar. Looking online and seeing a curious lack of Lunar 2 remixes out there, I decided to do my part. Here is Lucia’s Theme, re-envisioned to sound more like a Final Fantasy ending theme. True Lunar 2 fans will discover other themes from the game hidden throughout the orchestration. All arrangement and production is 100% my own work, including the vocals. Additionally, I had the good fortune of being able to share this version with Noriyuki Iwadare (composer of the original) who gave it his personal stamp of approval. Thank you! Chris ----------------------------------------------------------------- My music: http://soundcloud.com/lontas Blog: http://composeandcontrast.wordpress.com

Sup, I haven't submitted one of these in a while. Remixer: Ivan Hakštok Games arranged: Pop'n Twinbee: Rainbow Bell Adventures Name of arrangement: Mr. Green Hill Names of songs arranged: Distorted Fantasy, Green Hills - Blue Skies, Sunset Over The Hills, World Of Ice And Snow, Celebration Composers: Ken-ichi Matsubara, Yukie Morimoto, Saiko Miki This was an entry for the MAGFest edition of Dwelling of Duels. The theme was 1994 Month, and I ended up placing 3rd. I said this over and over in DoD discord, and I'll say it again here: 1994 was, in my opinion, the worst 90s year when it comes to video game soundtracks. I have a list of some 30+ songs I plan to cover sometime in the future, and none of them was eligible for this theme. Which meant I had to spend a huge part of the month listening to different soundtracks trying to find something decent I could cover, and when I found this game I had to again spend a lot of time on transcribing the sources. That left me with very little time to actually record this, not to mention I was away from home during the holidays. But luckily I managed to come up with something decent. This is one of my more conservative covers, and it might be a bit too medley-ish for OCR standards but I hope that's not a deal breaker. Guitars, bass and finger snaps are live, piano, synths, brass and strings were played on my MIDI keyboard (with some quantization because I'm not that good at keys). The only sequenced things are the drums and the doo-wops. My idea initially was to make a song in the style of ELO's Mr. Blue Sky, and since one of the sources is called "Green Hills - Blue Skies", I've decided right from the start that the title is gonna be "Mr. Green Hill". I've kinda strayed away from that ELO style but I've kept the title. Here's the source usage breakdown with links to the soundtrack: 0:00 - 0:10 = original intro 0:10 - 0:34 = rest of the intro, taking the chords from the first verse of Distorted Fantasy 0:34 - 1:16 = Distorted Fantasy 1:16 - 1:41 = breakdown into a piano solo, played over the verse chords of Distorted Fantasy (the solo piano melody line is also a small nod to T-Square's Omens of Love) 1:41 - 2:08 = guitar solo over the chorus chords of Distorted Fantasy 2:08 - 2:19 = guitar solo over an original section 2:19 - 2:51 = Green Hills - Blue Skies second verse and chorus, converted into a swing rhythm 2:51 - 3:27 = drum break into Sunset Over The Hills verse and chorus 3:27 - 3:43 = bass solo over an original section 3:43 - 3:59 = guitar solo over an original section 3:59 - 4:47 = World Of Ice And Snow verse and chorus 4:47 - 5:08 = Celebration, with a bit of added swing

Your ReMixer name: Schematist Your real name: Calbert Warner Your email address: Your website: https://www.youtube.com/user/CrimsonAzure7 Your userid = 32017 Name of game(s) arranged: Sonic 1 Name of arrangement: Blue Paradise Name of individual song(s) arranged: Special Stage Link to the original soundtrack: https://www.youtube.com/watch?v=lWvuTyFysFg I wanted to create a mild fusion of Jazz and Hip-Hop with this nostalgic track.I was inspired by a lot of hits from the 90's!

•ReMixer: Duzck •Real Name: Francisco Fernández •e-mail: •Website: https://soundcloud.com/duzck •UserID: 53710 (http://ocremix.org/forums/member.php?u=53710) •Game: F-Zero •Song: Big Blue •Comments: I think we all remember with affection this greatgame, at least for me it was a game that marked mychildhood. Now that I'm into music, I could not missa tribute dedicated to one of the best games I had at that time.

RemiXer Name: The Algorithm Real Name: Rémi Gallego Website: https://twitter.com/The_Algorithm Name Of Game arranged: F-Zero Name Of Arrangement: Super Big Blue Turbo X 7 Ultra Edition Name of Song Arranged: Big Blue

metaphist (Paul Ford, 8822) new site: music.metaphist.com Sonic the Hedgehog (sms) - Green Hill Zone "A Blue-Green Color" This started out as me trying to mix "Green Hill Zone" in the style of a Sonic R song, mostly taking inspiration from "You're My Number One." At one point I was trying to mix in some of that source so I could include it on the Sonic R album project that was going on at the time. Although that would have been awesome, I couldn't really make it work out, so I just scaled it back to Green Hill Zone and didn't worry too much about it resembling Sonic R in any way, though you can still hear the influences.