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The mastering was kind of rushed, but I'm still really proud of it! I don't see many remixes of K.K. Slider songs, so I'm working on an album of K.K. remixes. I submitted my first one to OC but never heard back, so this time I'm just gonna post it in the forums. Hope you enjoy! Any requests for other K.K. songs I should cover? It doesn't have to be exclusively metal, since I compose in different genres frequently.

This is a heavy Hopes And Dreams project I'm working on for fun, but also to learn the proper ways of recording/mixing to get a nice smooth tone and clear instruments. I didn't want to deviate from the style of the original because it's so pretty, but at the same time I wanted to play it myself and give it a louder feel. Feedback is much appreciated, and please let me know if I've made any mistakes so far. Original: Remix v2:

Hey peeps. Did a furious number on this cool source. Commentary welcome af

Okay, so after I managed to find a way to play the lead melody of 'The Past' from 'Metal Gear: Ghost Babel' by ear, I started working on a remix. Unfortunately, the said melody is the only part of the song I was able to retranscribe and I'd like to add more elements of the original source to the mix. Since I couldn't find a MIDI anywhere, I was wondering if anyone here (with good ears) could help me sequence one I could use as reference for the mix. Source: Thankfully, it's neither a long piece nor a complicated track, so it shouldn't take too long... I guess ^^' Thanks in advance!

Heya everyone! I used to do quite a bit of remxing around here, but it was back a couple of years ago so I figure a lot of people here don't know who I am; You may have heard these; http://ocremix.org/remix/OCR01341 http://ocremix.org/remix/OCR01304 In any case, I've since then started a band called Contemplator, and we just released a full-length album, "Sonance", mixed and mastered by Colin Marston of Gorguts/Krallice/Dysrhythmia. It's somewhere in the middle of Dream Theater, Opeth, more extreme metal like Gorguts, Martyr, and a serious dose of VG influences. Live violin and viola (and cello) on the album are courtesy of Jeff Ball, another OCRemixer you might've heard of! So yeah, come visit us on Facebook, go have a listen to the album on Bandcamp or Youtube! I'd love to have your feedback on the music too! If you're really curious about the composition/recording/production process for the album, we also produced a short making-of video with footage from the studio and some blurbs about how we made this thing. https://contemplator.bandcamp.com https://www.facebook.com/ContemplatorBand/

Hey guys! This is my first attempt at remaking a game track. This was originally produced by Sonic Mayhem for the ID Software game quake 2. Let me know what you think.

A piece I threw together and recorded at my house, I'm just looking for feedback on the composition more than the recording standards itself, But pointers on how to record are well taken as I don't really do Mixes. It was recorded in audacity too make it that much more disgusting. But thank you to everyone who listens too this, it's probably the first video game thing I have recorded properly in a while, and yes All parts bar the drums are real instruments, recorded one over the other.

Hi guys! Still learning how to tackle the VGM remix world. Here's my third consecutive remix for this month! Hope you like it

Hey guys, just wanted to share my new song - trying to indulge in as many video game-esq melodies as possible

Check it out!

I just finished my Zelda Metal Medley (featuring 9 songs) from the Zelda series. I also spent a while trying to make the video look as interesting as possible to go with the song.

What did you think? Post your opinion of this ReMix.

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!

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!

Hi guys! This is a song me and my buddy have been working on. Feedback appreciated

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

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.

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!

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!

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.

What did you think? Post your opinion of this ReMix.

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/

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!