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Found 231 results

  1. Just a fun one-day track so it's a bit repetitive and stuff. Kind of thought it ended up sounding a bit like a Touhou arrangement (mainly the "bridge"?) which was fun. Experimenting with some new (to me) things, mainly saturation that I've never used before. Don't really know what I'm doing with it but it does sound nice here and there so guess I'll keep messing with it!
  2. Hey everyone! This is a brooding and ominous arrangement of Undertale's Waterfall. We've never written or played anything this heavy before, so any constructive feedback is appreciated! YOUTUBE VERSION WITH FANCY ORIGINAL ART AND VISUALIZER Source Cheers!
  3. Hi guys! This is a song me and my buddy have been working on. Feedback appreciated
  4. Hey This is my first post on this site, I have been hanging around like a weirdo and have listened to the many releases by the community. I finally picked up the guts to post something! Here is my TMNT cover with my good friend Hedkar Thunderfist! (I keep telling him its a porn name!) Any feedback would be welcomed Thank you, Steve
  5. Hello, fellow remixers. I just finished this and i really want to let you guys hear this. Anyway, new doom is goddamn awesome. I didn't expect that much but they really made it great. And sound director did great job. I think i'm gonna do another remix about this game. So, thanks for reading this and have a great day. See ya.
  6. Metal remix of CP Violation from the Half-Life 2 OST (source), originally composed by Kelly Bailey. I'm confident that production wise, it's a step forward for me - very slowly getting to where I want to be. Drums turned out pretty great this time I think. "Polizeitgeist" is something that Eric "NeinQuarterly" Jarosinski mentioned a couple of times on Twitter, usually in the context of police violence, so I deemed it a quite fitting title for this remix. It's a neologism of the two German words Polizei (police) and Zeitgeist. Musically, this remix is heavily inspired by Meshuggah's Koloss record, which, as it happens, deals with socio-political issues like the aforementioned as well. Have a listen to The Hurt That Finds You First - the ambient guitar towards the end of the track reminded me a lot of the melody in the beginning of CP Violation, so I made an effort to merge these two musical worlds. Who knows, maybe Fredrik Thordendal found some inspiration in the HL2 OST, which actually wouldn't be that surprising, considering his relatively recent musical contributions to Wolfenstein: The New Order's OST (Herr Faust). In particular, I took CP Violation's main riff, downtuned it and transformed it throughout the remix, even to the point of giving it a syncopated 7/8 vibe. I also inserted my own riffs to develop this short entry to HL2's OST into a full-length song and I expanded the background melody to the point where it shifts and evolves throughout the whole song in a hopefully entertaining fashion. Also had a lot of fun experimenting with ambient SFX stuff on this one. Hope some of you might like it. As always, all criticism is very much appreciated!
  7. Welcome to Shreddage 2 SRP, the newest KONTAKT PLAYER-powered virtual guitar from Impact Soundworks! Building on our legacy of rock & metal focused 7-string guitars, we've sampled a new American guitar performed by rising star Jules Conroy - better known as FamilyJules7x on YouTube. Together, we collaborated to create an incredibly versatile sample library that excels for hi-gain styles, but is just as well suited for a wide range of genres. Using the same great engine as our other Shreddage guitars, SRP offers total control over mapping, performance, and engine settings, allowing you to customize the instrument to your liking - OR just load and play, using any of the built-in FX presets! AUDIO DEMOS LIBRARY WALKTHROUGH (intro song is me!) SHREDDAGE 2 vs. IBZ vs. SRP COMPARISON KEY FEATURES * Over 15,000 new 24-bit samples * 7 strings with a low note of drop G * Clean (DI) recordings for custom tone crafting * Classic American sound: well-rounded and versatile * Ultra-realistic performance engine * Customizable articulation mapping & engine settings * Easy compatibility with Shreddage 2 & IBZ * Built-in FX rack with amp/cab presets * Compatible with KONTAKT PLAYER ARTICULATIONS * Single note & powerchord sustains * Single note & powerchord palm mutes UP TO 11 LAYERS * Single note & powerchord staccatos * Tremolo picking * Pinch squeal & regular harmonics * Portamento slides * Hammer-on and pull-off legato * Unpitched & pitched release noises * Over 100 FX sounds AVAILABILITY * Available NOW for Kontakt Player 5.3.1 * Intro price: $119 for new customers, $99 for Shreddage 2 license owners, $79 for Shreddage 2 IBZ owners Click for more information and to purchase!
  8. This is an instrumental I wrote about 10 years ago that I decided to try and make a good mix out of after getting some new gear and recording equipment. Feedback is appreciated! Let me know how I could improve the recording.
  9. In one minute, you can hear parts of "Prologue", "Stalker", "Wicked Child", "Walking on the Edge", "Poison Mind", "Heart of Fire", "Nothing to Lose" and "Voyager" -- plus the "Death" jingle. Only "Vampire Killer", "Black Night", and "Game Over" were left over. Enjoy! \m/
  10. 7 string metal remix of Adventure Awry from the Pony Island OST, originally written by Jonah Senzel. Pony Island is an interesting, clever game that you should check out and that is also entirely unrelated to other pony-containing franchises (just in case you were wondering, because I was). Download provides 320 kbps audio to avoid nasty Soundcloud compression ruining your life. All Feedback is greatly appreciated! See below for my own thoughts. Source track: https://soundcloud.com/jonah-senzel/06-adventure-awry Some of my thoughts going into and coming out of this mix: For better or worse, I didn't stray too far from the original source. I "transposed" it from D to A by which I mean my 7 string guitar is in drop A and I hit the open string really hard a lot of times (so sofisticated!). Also added an interlude that the main riff inspired me to and played around with the songs structure a bit, as well as with some weird glitchy effects. My aim with this one was to create a mix in the style of Keith Merrow (example: https://www.youtube.com/watch?v=3A2TeB9zikA) in terms of guitar tone and overall timbre. I admire his work greatly and I think his mixes are unique to say the least. I love to learn about artists by trying to emulate their style, and so far I've learned some interesting new tricks every time I tried that. As usual, my biggest bugbear was the guitar tone. I recently upgraded to BIAS desktop and used the "Haunted S'mores" amp modell by Marc Holcomb (Periphery, Haunted Shores) for this project as it lends itself to a modern, mid-focussed guitar tone. However, during this mix I discovered by comparing my raw DI tracks to raws from Ola Englund's "Synder" album (he provides all raws and stems for his albums online for a few extra bucks, a great way to learn!) that my biggest issue is in the guitar itself (ESP LTD MH-417). It has both an outrageous overambundance of low mids and to top that off, there are three domniant resonant frequencies at 330, 440 (root note obvsl.) and 685 Hz that will make the guitar super honky when left in (which I decided to do in case of 330 and 440) or absolutely unintelligible / muffled when notched out even just a bit. For the longest time I thought my 7 string sounded that bad in mixes because the software amps I was using were just plain shit, but as it turns out, the problem seems to be inherent to the instrument. That's a real bummer for me - I'm thinking about changing the pick-ups from EMG 707's (known to be a honk-fest!) to something more round sounding, but I'm still shying away from it so far as I don't know for sure that this will fix the problem. Just hammers home ye old "garbage in, garbage out" rule ... I think I managed to get the best-sounding drums and bass going that I've ever had. Bass sits nicely in its pocket and doesn't cloud neither bass drum nor low mids; drums would sound absolutely huge if I didn't have to shrink them a bit to let the guitars have their honk-apocalypse in the low mids =/ All in all I think my EQing is definitely getting better and I'm starting to use saturation to greater effect, meaning that this mix is far less digital sounding than my last efforts. Sometimes you just gotta distort stuff to make it feel more organic! I went all out on volume automation on this one. I don't think it's perfect and I'm still having a hard time actually stepping back from the mix and listening to "the song" as is to find what needs to be featured / phased back at any moment. But I'm aware of - and working on - it. Having bought studio-grade monitors (Yamaha HS7) definitely helps with judging space which I found almost undoable back when mixing on headphones. Btw. if you have tips to share regarding home-made accoustic treatment, I'd be glad to be at the receiving end of them! Judging by the discussions and posts I read so far, some of you will disagree with my choice of mastering, which turned out to be around -7 LUFS. If it doesn't affect the mixes eligibility to be on OCR too much (which I'm sure you will tell me), I would kindly ask you to glance over this fact. As I said, I tried to emulate Keith Merrow's mixes which are super hot (-5 to -6 LUFS) and since it is my secret hope to make music at least a part time profession one day, I want to learn how to get a master to that volume. I don't feel like commenting on whether I like this or not, as my opinion is frankly irrelevant, but fact is that loudness is still part of the reality in audio production. I will say however that in the case of a metal track with overdriven (and therefore fairly compressed) guitars, super tightly compressed bass and sampled drums, there's obviously less dynamic range to lose than in, you know, an orchestral piece. I would greatly appreciate any feedback on my mixing; I am willing to learn and objective opinions from people in the field are hard to find. I know metal is not a focus around these parts, but I'm hoping that one or two of you will have something to say to this. This is the fourth mix I post here but the first which I put up for debate to enter OCR's catalogue - and I gotta be honest, it's mainly to provoke feedback and not because I'm more confident in this one than in the others (okay yeah I am, it's an objective technical improvement without doubt, but you know what I mean). Cheers!
  11. Hi everyone, I recently started a radio station at my college where I play video game music and talk about the games that the songs come from. Ever since my family heard the first broadcast they have been interested in hearing more interesting video game music. I have been having difficulty finding music in the genres they like. My father likes Rock; my mother likes Jazz; my cousin likes Metal and my aunt likes Rap. I figured OC ReMix would be the best place to ask for help since no one else knows more about the varieties of video game music than OC ReMix. These songs don't need to be exclusively OC ReMixes; I'm looking for any music on a video game soundtrack, remixed or not. I'm trying my best to find as many songs as I can in these genres, but I only grew up with a PC, PS2 and a SNES, so my recollection of music was limited to those platforms. If anyone has any suggestions I would be very appreciative. You don't need to post a link or anything, just the name (or location/description) of the song and the game it's from. Thank you P.S. I'm very new to forums in general, so sorry if this layout looks weird for a post.
  12. Hello, folks. I just finished this remix. Actually, this is the 2nd time i remixed it 'cuz i love this song so much. Anyway, have a good day. ->original
  13. Hey there! First time posting to the WIP forum, but I finally have a remix I feel would be up to par for OCR standards. This one is from my third time entering Dwelling of Duels, and I managed to snag third place during MAGFest/Collaboration month. For collaborators, I recruited old bandmates and friends of mine from the thrash metal scene. These include bassist Mike Dreher from my old band Condition Critical, Tony Barhoum from the same band to do two guest guitar solos, and drummer Brian Westbrook from Lich King who also helped with production. I did all of the arrangement and all of the guitar playing except for Tony's two solos (we both had two guitar solos in this remix though). Here's the source Here's the song uploaded to the Dwelling of Duels YouTube page Here is a direct link to download a WAV file of it from our Google drive folder Here it is on my Soundcloud Source breakdown if you want it: 0:00 - 0:21 This is a reference to both the original Veldt theme and the intro to an Artillery song which the name of this remix came from. We tried to make the drums a mix between the Veldt drums and the drums from that song. The guitar riff has the same rhythm as the Artillery song, but with the notes from the first section of the source tune. 0:22 - 0:44 Original riff that I wrote to go under the lead coming up. 0:45 - 1:05 Lead guitar with the main melody from Wild West (the source tune). 1:06 - 1:27 The next section from Wild West played as a thrash riff with lots of triplets. The lead coming in after the first break is the melody from the section of Wild West that the rhythm guitar is referencing. 1:29 - 1:39 Guitar solo by me. The rhythm guitar under the solo is the bassline from the last section of the source loop. 1:40 - 1:50 This is a thrash rendition of the same section of the source that the rhythm guitar during the solo was playing. 1:51 - 2:08 Guitar solo by Tony Barhoum over a clean guitar section that is a direct reference to an Artillery song. 2:09 - 2:32 Guitar solo by me over an original riff. These two solo sections are the only parts of the song that have no references to the source. 2:33 - 2:53 Thrash riff directly based off of the source tune. If you couldn't tell from the rhythm guitar, the lead comes in halfway through this section making it more obvious. 2:54 - 3:14 Thrash riff also referencing the same section of the source. This one is a little more liberal/obscure because it was originally supposed to be another guitar solo from someone who did not have enough time to record their parts before the DoD submission deadline. If there is anything I am specifically asking for suggestions on, it is whether or not to just take this section out entirely, record another solo over it, or just leave it be. 3:15 - 3:49 Breakdown riff directly from the source. 3:50 - 4:00 Drums directly from the intro of the source tune. Mike also decided to lay down a little mini bass solo over this section, which I didn't originally plan on but think it sounds rad. 4:01 - 4:43 The rhythm guitar plays the main melody from the source tune, and halfway through this section Tony Barhoum goes into another guitar solo. 4:44 - 4:56 Short ending riff not from the source. Sorry for the long post, but hopefully the breakdown was helpful The arrangement is pretty liberal, but after going through the breakdown I'm certain that it passes the 50/50 guideline because just about every section contains a reference to the source, if not is directly from the source. The sections I would think could be left out would be the intro (since the source reference is admittedly pretty obscure), the second guitar solo over the clean section, the third guitar solo, the section I mentioned that I would consider taking out, and the ending. These together add up to 1:56 worth of non source out of 4:56 worth of total music. That means it's about 60% source, and that is me being harsh and not counting two sections that do have references to the source. Unless I am an idiot and miscounted. Thanks a bunch for any feedback you're willing to give on this!
  14. Hi everyone, Friends and I just uploaded our first cover of our new project on YouTube. It is a metal cover of the theme Force Your Way from Final Fantasy VIII in symphonic and progressive style. We would love to have your thoughts about it, since this forum loves OST as we do ! Many thanks to you ! Greetings from France
  15. Here is our take on this amazing track, in a symphonic metal fashion. We did a video with it, and while square enix is busy with the remake, we decided to go for the demake option! What do you think?
  16. Anyone interested in a new T&C Surf Designs remix? I made a music video for it as well.
  17. We all know that the Castlevania's musicical roots can be traced back to classical, romantic or possibly even baroque roots but can still easily be mixed into a metal sound. But what genre of metal would you most likely classify the Megaman X series? Other then generic metal the only thing I can think even kind of resembles MMX is Children of Bodom's Powermetal. The X series is just so upbeat that I think it's the upbeatness is what seperates it from most other metal genres. That and obviously being composed by several people at most and not full blown bands. The above videos lyrics aren't necessarily upbeat but the instruments themselves definitely are. I feel like there are probably japanese bands that are inspired by either the X or Castlevania series that I don't know of. Perhaps synthmetal? Sorry if this topic doesn't belong here but I didn't know where else to put it.
  18. hi!! here's a metal arrangement of "The Rival" from Shovel Knight. I'd like to do a full Shovel Knight album. let me know what you think please!!! EDIT: here's the new version. I still need to tweak a few things, but I'd say it's like ~90% done.
  19. Update 2/5/16: I created a lyric video for this song, check it out here: Greetings everyone, I recorded this last year and released an EP, but it didn't gain much traction. I'm sharing it here because I think it's my favorite song that I've ever written. If you like it, browse through my Bandcamp and check out the other tracks. I'd love to hear what everyone thinks! http://bradcharlesmusic.bandcamp.com/track/the-swine-brigade
  20. Not entirely sure about what I'm going to do with this song, but this is my latest song I've been working on. I may be adding it to the album I'm currently producing, still not sure. I would love to hear (or read) thoughts about this. Maybe some improvements or what you overall liked? Thanks
  21. Featuring Microsoft Anna on vocals. All critique is highly appreciated. HQ mp3 download through SoundCloud: https://soundcloud.com/bkm