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EDIT (1/13): Artist submitted an updated version on 1/10/26 intended to replace the initial RESUB on 12/20/25 -LT
EDIT (8/3): Because I forgot to resolve the submission entry as Accepted after approval, artist submitted another updated mixdown on 7/23/26. I've cleared things up and we'll use that version. -LT
Resub 1
Original Decision
Artist Name: Rom Tom
To the esteemed judges, the OCR community, and beyond,
To reiterate, yes, this is the second Resubmission, being the third version submitted, including the original failed submission. Again, I understand that this will likely set back the release of this song, as the first Resub is currently still in the Judging process; I suspect that the Judging process will restart, rightfully so. After submitting the first Resub, I let my ears rest from the song for a few days. Upon returning to the song, I noticed that I had messed with the high end EQ of the bass, which resulted in an 'explosion' of the treble range whenever the higher notes played. It bothered me enough to compel me to go for this second resubmission, as I felt that I couldn't tolerate the EQ of that bass in the first RESUB. On top of that, I cleaned up a few more sounds, and levels, and also did some adjustments to the kick drum's lower end EQ, aiming to separate its low end from the low end of the Bass. I feel confident in this version of the song, and look forward to the response to it.
I have an unrelated question to this remix. Perhaps this has been discussed elsewhere, perhaps not. Are visual novel games like Fate/Stay Night, released on PC, then PS2 in the mid 2000s, acceptable sources of music for remixes? Do they count as video game remixes, even if the same music is featured in their respective animes as well?
I believe I have said all that I need to regarding this second Resubmission. I have copied and pasted my notes from the first resubmission for the sake of convenience. Thanks again!
(Copied from Dec 20 RESUB:)
It really is a privilege to get feedback from the judges; in itself, it is a fantastic opportunity for improving a track. Though if one has many questions, the forum is a better venue; and no doubt, some form of education, formal or otherwise, is an asset! That said, the most formal of my own were piano lessons, back in my wee lad days, some time ago. More on this towards the end. But first, about the remix; specifically, these are the fixes I applied as recommended by the judges.
The mono problem, as initially pointed out by Chimpzilla, regarding the invisible 12 string acoustic, was a great learning experience by itself. It turns out I had a flanger plugin which was doing the over-widening in stereo. In FL Studio, on the mixer table, there is a knob for either widening or mono-ing a track, from a default stereo midpoint. So I full sent the mono in the master track, which is when I also no longer heard the guitar, just as described!
Then I began disabling each of the guitar's effects in sequence. It didn't take long for the guitar to return in mono, as the flanger was near the top of the stack. I even removed an additional stereo widening effect, though it did not impact mono playback all that much, either in concert with other effects, or on its own. But it seems I was devoted to maximizing this guitar's width at some point along the way, and it sounds like I over-succeeded, unintentionally! So as a different approach to widening, I decided to split the guitar into separate channels, one for the top strings, to pan them right, and one for the bottom strings, to pan them left.
I took into account Prophetik's suggestion for better velocitization of the opening xylephone. As it turns out, I had over compressed them, making the velocity changes virtually undetectable. Indeed, my goal is an OverClocked Remix, not an OverCompressed Remix. I also altered a djembe's rythm, as it seemed to be the main culprit of the machine gunning effect in the drum circle. I addressed the lack of reverb in some of the instruments, as well as the all too high electric guitar dB levels. Actually, Chimpzilla's thoughtful advice became incorporated into the process of adjusting dBs, as by putting the Master track in mono, it helped me better assess how present each sound was, which certainly did seem to improve the stereo version as well.
I figure its worth mentioning my approach to the part where you dive into the waters. My goal was to capture the experience of personally hearing a dive into deep waters. As the one diving, you would not necessarily hear the entirety of your own splash, save for some of the beginning. To accomplish this, I filtered out the second half of a splash sound effect, right at that transition.
But this idea of splashing into the waters is not original to me, as previous OCRemixes are an undeniable inspiration, like Disco Dan's “Riptide”. As it is, each and every OCRemix of this song has accomplished a totally unique, quality take on David Wise's legendary song. I won't single out any as a favorite, as I can't, but I definitely took inspiration from no small number of them, and have spent time enjoying them in my playlists. As my song features a lead electric guitar, I'll mention two particular inspirations. Gibs'/Mordi's “A Hint of Blue” is an impeccable power ballad, and the lead electric guitar is a total stunner. The Distortionist's “Submerged in Ambiance” is on the heavier side of the spectrum, being a fast paced, djenty shredder. I could go on about the many more “Aquatic Ambiance” OCRemixes, but will opt instead to keep this short as can be.
I appreciate this opportunity to share my remix of David Wise's epic track through the venue of this awesome online community. Though I have been a fan of this site since at least 2002, when I was but a wee lad of 10, the itch to produce my own music started to find expression around 14. My first foray into making songs was through a demo version of FL Studio 4. Everything I learned back then, I learned from this website, from its basic instructions page on music production!
I don't remember how, where, or when exactly I first encountered this website. But through this site, I found not only music that I thought was awesome, but also a community that abides by an easy-to-understand philosophy towards music appreciation that is both highly agreeable, and empowering; I have this website to thank for empowering me to make my own music! And if my remix should fail again, then this is the value of OCRemix in action; upholding a standard for quality is what separates the wheat from the chaff. If it wasn't for OCRemix, I would not be sharing something like this with everyone today, perhaps all too many years later, as a hobbyist musician!
Whether or not you enjoy these Azurite Horizons, I hope everyone might know the joy of accomplishing your creative vision!
~Rom Tom
Games & Sources
RESUB #2! I would like to kindly interrupt my first RESUB with this, the 2nd! I understand this may set back the release of my song, as the first RESUB is currently still in the judging process.
Source Tune: Aquatic Ambiance
Game: Donkey Kong Country
Composer: David Wise
EDIT (1/13): Artist submitted an updated version on 1/10/26 intended to replace the initial RESUB on 12/20/25 -LT
EDIT (8/3): Because I forgot to resolve the submission entry as Accepted after approval, artist submitted another updated mixdown on 7/23/26. I've cleared things up and we'll use that version. -LT
To the esteemed judges, the OCR community, and beyond,
To reiterate, yes, this is the second Resubmission, being the third version submitted, including the original failed submission. Again, I understand that this will likely set back the release of this song, as the first Resub is currently still in the Judging process; I suspect that the Judging process will restart, rightfully so. After submitting the first Resub, I let my ears rest from the song for a few days. Upon returning to the song, I noticed that I had messed with the high end EQ of the bass, which resulted in an 'explosion' of the treble range whenever the higher notes played. It bothered me enough to compel me to go for this second resubmission, as I felt that I couldn't tolerate the EQ of that bass in the first RESUB. On top of that, I cleaned up a few more sounds, and levels, and also did some adjustments to the kick drum's lower end EQ, aiming to separate its low end from the low end of the Bass. I feel confident in this version of the song, and look forward to the response to it.
I have an unrelated question to this remix. Perhaps this has been discussed elsewhere, perhaps not. Are visual novel games like Fate/Stay Night, released on PC, then PS2 in the mid 2000s, acceptable sources of music for remixes? Do they count as video game remixes, even if the same music is featured in their respective animes as well?
I believe I have said all that I need to regarding this second Resubmission. I have copied and pasted my notes from the first resubmission for the sake of convenience. Thanks again!
(Copied from Dec 20 RESUB:)
It really is a privilege to get feedback from the judges; in itself, it is a fantastic opportunity for improving a track. Though if one has many questions, the forum is a better venue; and no doubt, some form of education, formal or otherwise, is an asset! That said, the most formal of my own were piano lessons, back in my wee lad days, some time ago. More on this towards the end. But first, about the remix; specifically, these are the fixes I applied as recommended by the judges.
The mono problem, as initially pointed out by Chimpzilla, regarding the invisible 12 string acoustic, was a great learning experience by itself. It turns out I had a flanger plugin which was doing the over-widening in stereo. In FL Studio, on the mixer table, there is a knob for either widening or mono-ing a track, from a default stereo midpoint. So I full sent the mono in the master track, which is when I also no longer heard the guitar, just as described!
Then I began disabling each of the guitar's effects in sequence. It didn't take long for the guitar to return in mono, as the flanger was near the top of the stack. I even removed an additional stereo widening effect, though it did not impact mono playback all that much, either in concert with other effects, or on its own. But it seems I was devoted to maximizing this guitar's width at some point along the way, and it sounds like I over-succeeded, unintentionally! So as a different approach to widening, I decided to split the guitar into separate channels, one for the top strings, to pan them right, and one for the bottom strings, to pan them left.
I took into account Prophetik's suggestion for better velocitization of the opening xylephone. As it turns out, I had over compressed them, making the velocity changes virtually undetectable. Indeed, my goal is an OverClocked Remix, not an OverCompressed Remix. I also altered a djembe's rythm, as it seemed to be the main culprit of the machine gunning effect in the drum circle. I addressed the lack of reverb in some of the instruments, as well as the all too high electric guitar dB levels. Actually, Chimpzilla's thoughtful advice became incorporated into the process of adjusting dBs, as by putting the Master track in mono, it helped me better assess how present each sound was, which certainly did seem to improve the stereo version as well.
I figure its worth mentioning my approach to the part where you dive into the waters. My goal was to capture the experience of personally hearing a dive into deep waters. As the one diving, you would not necessarily hear the entirety of your own splash, save for some of the beginning. To accomplish this, I filtered out the second half of a splash sound effect, right at that transition.
But this idea of splashing into the waters is not original to me, as previous OCRemixes are an undeniable inspiration, like Disco Dan's “Riptide”. As it is, each and every OCRemix of this song has accomplished a totally unique, quality take on David Wise's legendary song. I won't single out any as a favorite, as I can't, but I definitely took inspiration from no small number of them, and have spent time enjoying them in my playlists. As my song features a lead electric guitar, I'll mention two particular inspirations. Gibs'/Mordi's “A Hint of Blue” is an impeccable power ballad, and the lead electric guitar is a total stunner. The Distortionist's “Submerged in Ambiance” is on the heavier side of the spectrum, being a fast paced, djenty shredder. I could go on about the many more “Aquatic Ambiance” OCRemixes, but will opt instead to keep this short as can be.
I appreciate this opportunity to share my remix of David Wise's epic track through the venue of this awesome online community. Though I have been a fan of this site since at least 2002, when I was but a wee lad of 10, the itch to produce my own music started to find expression around 14. My first foray into making songs was through a demo version of FL Studio 4. Everything I learned back then, I learned from this website, from its basic instructions page on music production!
I don't remember how, where, or when exactly I first encountered this website. But through this site, I found not only music that I thought was awesome, but also a community that abides by an easy-to-understand philosophy towards music appreciation that is both highly agreeable, and empowering; I have this website to thank for empowering me to make my own music! And if my remix should fail again, then this is the value of OCRemix in action; upholding a standard for quality is what separates the wheat from the chaff. If it wasn't for OCRemix, I would not be sharing something like this with everyone today, perhaps all too many years later, as a hobbyist musician!
Whether or not you enjoy these Azurite Horizons, I hope everyone might know the joy of accomplishing your creative vision!
~Rom Tom
| # | Наименование новости | Тональность | Информативность | Дата публикации |
|---|---|---|---|---|
| 1 | *NO* Final Fantasy 8 "Kiyomi" *RESUB* | 0 | 5.75 | 25-09-2026 |
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