A Tale of Two Soundtracks. In the world of video game music, Sega's Sonic CD (1993) stands as both a milestone and something of a curiosity.

Download free music. 03.Buckethead's Toystore 04.Buckethead's Toystore. Dance and Toy's 7.I Love My Parent's.

It was the first Red Book audio soundtrack experience for MANY gamers, the first console mega-franchise to branch out into the world of recorded OSTs & make use of its optical format, and perhaps most interestingly, it provided the gaming world with not one but TWO amazing and distinct soundtracks! Japanese & international gamers enjoyed a modern, more electronic score, but for the US version completely new music was composed. Fans have argued ever since as to which soundtrack is better, but we're happy to announce that our latest album arranges music from BOTH versions!

About the Album Temporal Duality is the 45th album published by and arranges music from Sonic CD, released in 1993 for the Sega CD. It features 38 tracks arranged by 39 artists that cover both the JP/EU and US soundtracks, originally composed by Masafumi Ogata, Naofumi Hataya, Spencer Nilsen, David Young, and Sterling Crew. Sonic CD was unique from other Sonic games of the era due to its time travel system that allowed players to experience 4 variations of each stage.

The game featured different soundtracks for the JP/EU and the US releases, which were both ahead of its time for video games, being among the first to have Red Book CD Audio. Spanning 3 discs and numerous genres, Temporal Duality is the fourth OverClocked ReMix album to pay tribute to the 16-bit era of the Sonic The Hedgehog series! Director Comments Director SuperiorX The Sonic the Hedgehog series has always been very special to me. Growing up my family had an NES, but when it came time for the next generation we decided to get a SEGA Genesis. The bundled game was, of course, the original Sonic the Hedgehog.

From that moment on, I was hooked. I have many fond memories playing those games, especially Sonic the Hedgehog 2 and 3, with my family, and watching the cheesy 90’s Saturday morning Sonic cartoons. I remember going through the Sound Test menus just scrolling through all the original tunes, because they were just so much fun and so addicting to listen to.

One birthday I received a little Yamaha keyboard and was so excited to try to learn and play the Sonic soundtracks myself. I first discovered OverClocked ReMix in the early 2000’s, when I was in high school, and absolutely loved checking out the various Sonic remixes that existed at the time. It was a huge nostalgia rush. Fast forward nearly a decade, and I had since joined the OCR forums and checked out the site much more frequently. I think I first felt comfortable undertaking this project shortly after I had hosted The Sonic Zone Remix Competition in 2012 and Rexy (Beverley Wooff) had created a thread to generate interest for a Sonic CD project. I have to admit, I never had the opportunity to play Sonic CD until it was re-released on PS3/Xbox/Steam in 2011, but I was familiar with the soundtrack and really loved both the JP/EU and US versions.

After some discussions back and forth in the forums, I decided to head up the project. Given how successful the previous OCR Sonic albums were and just how popular Sonic is in general, I knew I had my work cut out for me. This was the last of the “classic” Sonic games to receive the remix album treatment and I knew we had to deliver big-time. I wanted to arrange both Sonic CD soundtracks and re-capture the general feel of the originals, while still allowing artists the flexibility to bring their own personal touch to the album. Throughout the process, interest continued to grow around the project and I was fortunate to be able to include so many talented musicians from all around the Sonic fan community. Everyone really brought their A-game to this project and I think the end result is truly a top-quality album that spans numerous musical genres that any Sonic fan will enjoy! There are numerous people I’d like to thank.

Without their help this project wouldn’t have been possible. Special thanks to Pete ‘Phonetic Hero’ Lepley, my assistant director, who listened to countless WIPs and provided critical feedback on numerous tracks along the way. His help and dedication really helped ensure a certain level of quality on the album. Special thanks to Jordan ‘Sir Jordanius’ Etienne, who became more and more involved in the project as time went on. First I persuaded him to help out on a few arrangements, which turned into a few more arrangements, which resulted in him mastering/producing a handful of tracks for the project.

He also provided key insights and feedback that helped shape so many of the tracks on the project. Special thanks to Niyazi ‘DiGi Valentine’ Sonmez, who was definitely one of the project’s biggest supporters from the onset.

His passion around Sonic and SEGA was so contagious, and his connections within the Sonic community were invaluable. He helped with numerous things behind-the-scenes and recruited our visual artist, TheSmai, who provided the absolutely beautiful art you see accompanying the album.

Special thanks to Beverley 'Rexy' Wooff for proposing the original project idea and supporting the album throughout. My sincere thanks to the original composers Masafumi Ogata, Naofumi Hataya, Spencer Nilsen, and Sterling Crew, whose amazing original work inspired us all to create this tribute album. And lastly, my very special thanks to each and every artist who contributed to the project. It was my honor to work alongside each of you and get to know many of you very well. I’m truly proud of what each of you has created for this amazing album! Assistant Director Phonetic Hero Working with Matt and all the other staff and artists on the project was an absolute blast. There was lots of immense talent and a general willingness to work together to create an excellent product.

It doesn't hurt that we were working with ridiculously great source material either, and even though I've never played Sonic CD personally, the tunes are really outstanding. The whole thing came together in under a year (!!), and even though it's one of the quickest album projects I've ever seen come out of OCR, the quality of the mixes doesn't skimp one bit. This was my first project being considered staff, and I was much more present for giving feedback in the beginning of the project than I was toward the end. But seeing how receptive everyone was to the critiques and hearing new WIP after new WIP, improvement after improvement, was really an enormous pleasure and I'm very proud to have been involved in the process.

Everyone giving it their all and seeing the growth as musicians was gratifying as hell, and coupled with the excellent coordination on the part of our fearless leader SuperiorX, this was an absolutely fantastic experience. I would certainly not think twice about working with Matt on another project, and in fact, I'm very much looking forward to the day when the opportunity presents itself! Begoma I am a big Gnarls Barkley fan, so I wanted to do something with an RnB/Soul vibe. I also wanted to do something that was significantly different from the original track while keeping some of the original flavor. Jordan was a HUGE help here as his rap and horn parts make the track shine. I have nothing but good things to say about him and Matt. I have grown so much as a musician, composer, and mixer from this experience!

Jordan I enjoyed begoma's clever spin on 'You can Do Anything' because after already being mesmerized by the cheesy 90s-esque original and the 'Sonic & All-Stars Racing Transformed' version I was very curious as to how he could possibly flip it up with an interesting twist. So once I heard his first few WIPs I was immediately digging how he greatly slowed the source tune down and dipped it in a sea of deep funk and soul. At first I was just going to help out with production suggestions and advice, but then begoma asked me to lend some rapping for the breakdown as well as a few horn parts here and there. I think begoma has come up with a killer arrangement, and I was glad to help out with it! Theory of N I came in pretty late to the project to cover for a dropped track. Luckily the track I was asked to cover was pretty badass.

No real specific inspirations for it, just lots of playing around with the different melodic and rhythmic motifs present throughout the source. Definitely took a different approach than I usually do. Insteading of opting for sexy smoove, I went for super aggressive and I think it turned out okay. I had a specific form in mind while writing this but as I was writing, it kind of went off and did its own thing so I just went with it. Because of that, it's pretty progressive and you rarely hear any part twice.

The title is a reference to Pluto, which is sadly no longer our solar system's Little Planet. SuperiorX When I first undertook the Sonic CD project, I really wanted to remix one of the signature sources in an electronica style that would still pay homage to the original. Listening through the OST, I thought Palmtree Panic’s various zone themes were ripe for expansion and could fit together quite well. The result was this mix, which is easily my strongest and most well-developed song to-date.

It starts off with a light and airy atmosphere and then takes us through the Present and Bad Future sources and then finishes up with the Good Future source, which includes a square synth solo overtop some Sonic SFX, which was a ton of fun to write. It then comes full circle and closes out with some more of the light and ethereal instrumentation from the intro. I was really trying to make this mix sound like it belonged within the game, but expanding it with some additional instrumentation and personalization. I like to think I succeeded! I hope everyone enjoys this mix and the rest of Temporal Duality as much as I enjoyed working on it and directing it! Kruai Like every other track I make, this track sounded completely different when I started it. It was going to be a much less funky house track, but after experimenting with guitar and acoustic bass sounds, it turned into a much groovier piece of music.

This is the piece that really taught me about EQing and mastering. SuperiorX, Phonetic Hero and Swann were all very helpful in giving me advice on how to master a piece, and I applied the knowledge I gleaned from them to make this sound a lot cleaner.

'clean' being a relative term for this kind of music. The most trouble I had with this piece was that two of my synths would clash at VERY specific points in time to make a weird crunchy noise.

It took a lot of tweaks to make it listenable again. But it seems that the harder I work on a piece, the better it feels to complete it! Thanks so much for listening! Rexy While Tidal Tempest (JP) wasn't exactly my first choice of track to mix when SuperiorX sent it around those that initially took interest, it did however present me with sweet ideas to work with on a sound design level.

Knowing for sure that the JP soundtrack (my most preferred of the two) was ahead of its time, I felt the best approach would be to do something in a more contemporary style as of 2013 - 9-bit elements. In other words, 'Rexy attempts to wear halc's shoes'.:P Instrument-wise it's more stripped down than what I'd usually do - piano lead, 6-part Genesis soundfont work, bass, drums/percussion, strings and square lead. But to me, that's what Tidal Tempest feels like in comparison to the busier levels in the rest of the game - a water level so tranquil even the dreaded 'drowning' motif doesn't pop up. It still doesn't mean life is a breeze - one just needs to break out of the water that's binding them and find those directions to make a difference to the world.Yes, I know you can use the submerged springs in Act 1 to travel through time, but that's beside the point. Either way, I'm glad I got through the track - was a lot of fun to make. I would've liked to have spent more time listening to album WIPs and offering feedback, but considering that one of my biggest obstacles during this process was my physical health at the time - can't disclose what specifically but it did hinder my productivity during a fair chunk of 2013 - I feel really grateful I've been able to pull this off. But still, you got to give me credit for instigating interest in the Recruit & Collaborate sub-forum, right?:D.

G-Mixer I came across this project pretty early on in its existence in 2012 when Rexy was 'generating interest' for the project. Immediately I thought of one of my favorite Sonic tracks of all time, Quartz Quadrant, and I got myself into the project. The whole entire track was recorded without even thinking about it. I just started playing stuff and threw in synths and beats and samples that sounded cool to me. The track ended up having a very electronic, synthy, and RnB-ish style, and personally I think it's one of the best remixes I've ever done for a song from a video game. Halc I was approched by Sir J to collab on his Wacky Workbench remix, for which he had already crafted a full arrangement.

It was reminiscent of his Kid Chameleon remix; very assembly-line-esque, mixing sharp, mechanical synths and percussion with old-school brass hits, funk guitar and a killer slap bass. I guess he wasn't extremely pleased with the result, so he sent me the stems and I built a new arrangement around his original parts, putting a heavier emphasis on the funk/hip-hop elements and incorporating my own synths, a new drum track crafted in Maschine, and lots of fun processing and glitch effects. Jordan's last-minute vocals were the icing on the cake. Very pleased with the end result, and working with Jordan was smooth as silk.

A+++, will collab again. Metaphist For this, I simply tried to channel the intended energy of the original into a more groovin' direction. The extrapolation on the first section might go a little far for some tastes, but I thought it would be too easy to get some run-of-the-mill electronica out of this track, so I decided to just let the ideas come to fruition. Plus, SuperiorX demanded the funk. I also found it funny how the source has that 'BASS' vocal sample, yet is lacking in that very area. Figured I'd do something about that. Matt (SuperiorX) Stardust Speedway JP is easily my favorite source across the Sonic CD OST, so I knew whoever ended up claiming the source was going to have to blow me away with an idea for their remix.

Early on in the project, DiGi Valentine, Kary Brown (begoma), and BrothaDom each individually contacted me with ideas for remixing Stardust Speedway in a funky hip-hop or R&B style. I immediately noticed the potential there for something great. The entire Sonic CD OST (particularly the JP/EU version) just oozes 90’s musical influences and already incorporated a lot of vocal elements into many of the sources, so I thought how awesome it would be to make a truly old-school collaborative hip-hop mix that sounded like it came right out of the early 90s. I really wanted someone who could nail that funky hip-hop sound to arrange the mix, so I contacted Sir Jordanius and laid out the details for the song and the interested parties. Much to my delight, he was fully on board.

During the process we brought in metaphist and The Auracle to round out our lead vocalists (alongside DiGi Valentine and Kary Brown), who each contributed truly amazing verses for the song. BrothaDom and Jordan then both contributed some additional background vocals to fill out the mix. We also brought in Adam (C7), whom I had the pleasure of working with in the past, to lay down some trumpet parts which I think really added a whole other level of realism and awesomeness to the mix. Jordan also laid down the guitar and backing trumpet parts and I wrote the piano parts for the instrumental breakdown towards the end, to make this truly an epic collaborative effort. I could not be happier with how this turned out and I can’t wait to work with these fine gentlemen again sometime in the future! So turn it up and get down! OVERCLOCKED ASSEMBELED!!!

Jordan (Sir Jordanius) When Matt first contacted me about a proposed mega-collab for Stardust Speedway, I actually went through every internal excuse I could think of to try and shy away from it: I have a preference for not arranging songs that are already phenomenal imo, due to past experience with band-mates I'm a bit cautious about huge team efforts, I've recently been on a looooong-ass personal hiatus from rap so I was unsure about my hip hop Killer Studio Chops, etc. But I've been talking to BrothaDom and a few other forum members about getting something like this set up, and when Matt showed me selected works from each member I was blown away. This opportunity was bound to happen, and I couldn't just pass the chance to make something so catalytic with such a group as this.

Besides the obvious title, there are several allusions to Hip Hop historical influences mixed in with the Sonic metaphors of coming together regardless of differences. So, since I'm not a copy-paste kind of beatsmith, I wanted to make sure that everybody's section had a slightly unique flavor that would smoothly lead into the next section (basically like a timeline or traveling expedition). Getting Adam on board for that extra, yet much-needed 'hell yeah' feeling was pretty much a no-brainer after hearing his and Matt's sick SZRC collab, and the rest of the track is history; so if you've enjoyed this collaborative effort, I believe we can assure you that this is just the tip of the iceberg of some very interesting things happening on 'Temporal Duality,' as well as the rest of OCR in general! We're makin a Good Future up in this bizzzznitch!! Niyazi (DiGi Valentine) It seemed an entire bunch of us wanted to remix Stardust Speedway, though eerily we all had a similar vision for making the track a rap song in some shape or form.

When Matt told me who else was interested I immediately felt this needed to be a collaborative effort on a grand scale, to which Matt agreed. The team was assembled. Through this, one thing I personally wanted to play upon was incorporating the 'Turn it up, Get down!' Line from the original song, but instead use it as a call-out for the next rapper in line to jump in and start their verse.

I wanted this element to give off the vibe that each rapper was working with the next respectfully, and while we were all our own individual personalities we were united under this one banner. Jordan and myself smashed some idea's together for the lyrics used in the chorus, followed by Matt who helped me iron out the flow of them so it rolled nicely, and in turn it became this neat little shout out to the rest of world, inviting them to turn the music up and get down with us!

My own verse was focused around expressing the nature of moving up above beyond the mundane and elevating towards the stars, in spirit of some of Sonic Team's older vocal tracks from back in the day. Dom (BrothaDom) Seeing that there was going to be a Sonic CD project, I knew I wanted to help in some way. Additionally, I had been kicking around an idea for a Stardust Speedway Hip-Hop track, so this felt like a great place to try for my first contribution. I figured that a collaboration would be the best way for me to jump in, but I had no idea that there was this much interest in a similar idea. I got a lot of support and got the chance to learn a lot during the process.

As far as the track goes, I feel it was a perfect fit for a vocal track as there was already a firm vocal base in the source. Also, the scratches gave it a strong Hip-Hop vibe. The resulting remix was something really funky that spanned a few different vocal styles just as in Sonic CD how the different time zones span styles. The end of the song ends in an instrumental-heavy 'Good Future' session; to close the song with a mellow vibe that feels great after the hyped sections proceeding it. Really, I feel this remix keeps with the spirit of not only the remix album, but the source game as well.

Really a pleasure to be a part of all around. Joseph (The Auracle) 'Time Traveller's Delight' is my first OCR collaboration and what a first impression it's made on me. I was expecting to collaborate with fellow emcee & friend Niyazi (aka DiGi Valentine) but I have to say that the actual scale of the project wasn't something I was anticipating. This track is a very special experience, one that I will cherish for years to come.

I'm indebted to Niyazi for asking me to come aboard and to Paul, Kary, Adam, Matt, Dom, and Jordan for welcoming me with open arms. I certainly hope this isn t the last collaborative effort for OverClocked Assembled.

Each of these gentlemen are extraordinary and I hope to work with them again very, very soon. I hope everyone that listens to this track enjoys it as much as we enjoyed creating it. Paul (metaphist) There's probably not much I can say that hasn't already been touched on by the rest of the group. Like some of the crew, this was also my first collab, and I really had no idea it would turn out this epic. I think I was the last of the emcees to be reached out to, but I ended up starting us off with the first verse on the track, so that's very cool. Big ups to everyone, especially SuperiorX for getting me involved!

Adam (C7) It was a lot of fun to have such a sweet trumpet line to work with and also the freedom to improvise around it. They put it to good use, and I'm proud to be a part of such a great track. Main Finger Metallic Madness quickly seemed like a natural track choice for me. The piano really took me back to 90's dance music, a vibe I knew I'd enjoy running with. I didn't exactly want my track to sound like a period piece, though, so I worked on injecting some more modern elements as well like the glitching chorus in the second half. I also really wanted to focus on including elements from every version of the zone's theme. The only version that didn't get much love was 'Good Future', which really only shows through in the slower drums that take inspiration from it.

KingTiger really brought his A-Game to this track. At first I just asked him to perform the lyrics that were already in 'Present'. Instead, he rewrote them to sound more natural and added several additional verses that were completely original. Wildfire did a great job, too, bringing exactly the style of 90's vocals that I was looking for to use in the chorus.

I used synths to convey my melody ideas to her (since the original 'Bad Future' lyrics were said by a monotone robot voice instead of sang) and she really nailed it. This is the first time I've really done collaboration with the OCR community (I usually stay solo) and I couldn't be happier with the results. Chernabogue Finding a way to remix this track (Boss Theme JP) was a real challenge for me.

I tried several different approaches (funk, rap, piano solo, etc.) before going with heavy metal. The whole arrangement is based on the various parts of the source, but everything is more brutal and sinister: the riffs are based on the main melody, and the vocals and organ parts are also inspired by what happens in the original. The same goes for the crazy evil laughs. Furilas and DusK recorded the bass and guitar parts. Huge thanks to both of them, they're great musicians, and the song wasn't easy at all. (DusK even said it was 'hard as balls' - nothing to add!) It was a real pleasure to work on the Sonic CD album.

Matt/SuperiorX is a very good project director, and all the project Staff and members rock! DiGi Valentine For 'Extraordinary' I wanted to take the lyrical cheesy feel of the rap sections in 'Cosmic Eternity' and keep that intact, while lacing those same lyrics over something of a WestCoast stylised rap beat. To me, there's something quite comical about putting that kind of uplifting mood on to what would technically be a potential 'gangster rap' song. I certainly was not going to change the original lyrics because I feel that would deface the source too much, so I chose to keep them as they are but I also incorporated a third rap verse with a similar style, written by myself. All the ideas I laid out to him were taken on board straight away and implemented in a way where the beat remained smooth enough for the rap flow to glide nicely over, it wasn't too heavy and gave enough leeway for the vocals to make their mark. It was also my idea to bring in the robotic voice for the track, which is something of an iconic sound in the WestCoast style. While we couldn't use an actual TalkBox for that effect, Palpable ran the vocals I recorded through a vocoder and tweaked around with it until he got it sounding just how we wanted it.

Palpable Started this track somewhat as payback for DiGi Valentine helping me on a different track, but I quickly bought into in the vision DiGi laid out. Though he doesn't produce (he should!), he was the mastermind behind this and it was a blast working with him: trying to put into music the ideas he described, fitting my own ideas into the gaps, and going with what worked. Eventually we had a track. Amphibious I had Sonic CD on my computer when I was young, so picking a track from the US soundtrack seemed like the right choice for me. For whatever reason I decided on the good future music of Palmtree Panic instead of the present (which had a lot more melodic material to work with by comparison). To me, its one of the more unique tracks on the album, and I wanted to do something really groovy with it. I focused a lot on the lead synths to get them sounding just right, and the rest just kind of happened slowly over the course of a few months.

I'm pretty happy with how it has turned out, and I hope people enjoy my track as well as the whole album, there's some great stuff! HoboKa Very watery sounding and it's too cool to be lumped in any 1 genre so let's go with video game music ^^ - I did most of the EQ balance and Jordan did the final mix for me, after OVER 9000 attempts at getting it to work. Also, the bass was being a very naughty boy and had to be disciplined appropriately. But it's all good now and me 'n Jordan are damn proud of the final product.

Water ambience, saxamophone, monk vocals and extra beefy drums. With a side of french fries. Jordan HoboKa and I have a very, very, very, VERY peculiar sense of humour, and it most likely goes over several people's heads if you're not familiar with our personality and usual standard operating procedures. You can either take this as an incredibly serious, emotional arrangement at face value, or read (listen) in between the lines to notice a lot of the subtle humour we've strewn throughout this arrangement. Firstly, HoboKa was having a rough time at first with bringing his arrangement idea up to the standard quality of the rest of the album, and there was quite a bit of butthurtianism to go around the whole team for several months (I kept on saying that his musical ideas were great and very captivating, it's just the production execution of those ideas that needed some polishing); plus, I originally intended just to be a cheerleader of sorts for HoboKa by coaching him on just to bring the production up to par. But after several hilarious back-to-back emails and chatting sessions I realized that I should probably just throw a little bit of Jordanius noodling on there for good measure! There is a lot of funny behind-the-scenes moments that would probably not make sense to most people who aren't in on the jokes that were being discussed between us, but to explain the gist of it: - when I was first just giving production advice, I used a bunch of cheesy aquatic figurative language and shonen rousing speeches to try and illustrate best to HoboKa what I was suggesting.

(ex., I said to treat the filter sweeps as though the listener is a mermaid travelling all the way from the depths of the ocean floor up to the surface to splash out of the water in slow motion as her hair glistens in the shimmery sun. And then later on I mentioned how that bassline is sooo phat but it needs a restraining order because it was coming across as Poseidon lurking in a lake and throwing tidal waves at helpless children who were just trying to skip some stones) - After loads of bizarre imagery and hilarious shonen speeches to get HoboKa pumped ('Narutoooo!!' ) I decided to go ahead and record some of the parts that were too difficult for me to explain to him through text (plus, we were approaching the deadline and I just wanted to make his load a little easier) - After ping-ponging back and forth to see what we agreed on, we decided to go ahead and stick with my new additions (such as running his original track through 'paulstretch' and 'stutter edit,' and adding some Ratatat guitars and 'Dr.

DOOOooom' drum parts, etc.) So, in line with the whole aquatic vibes, we went to town with my cheesy mermaid metaphors. We've got Poseidon throwing it down with the thick bass line while using his elegant filter sweeping trident to penetrate the Auto-tuned Enya merman ritual choir boys. Get your ears ready, open your mind, and prepare yourself to ride the cosmic waves of absolution and divinity. We hope you ladies and gents like Ratatat-ified aquatic Gregorian chant mixed with lush, sexually amazing sax playing (courtesy of Xenon, of course).

Oh lawd, what have we done. Xenon Odyssey >HoboKa makes track with soundfont saxophone >thatsnogood.wav >SuperiorX says 'hey check this out' >chat with HoboKa >record >??? Garpocalypse For a long time I was determined to never touch the music from any Sonic the Hedgehog game. However once this Sonic CD tribute album was announced I knew that if I didn't at least try to get on it that I was going to regret it for a long time. I think my love of Sonic and my own fears of butchering Collision Chaos ended up causing me alot more stress than I initially planned to endure but looking back I am thrilled that I was able to be a part of this album.

Special thanks goes to SuperiorX who gave the track a ton of attention throughout the year. SuperiorX I just provided a small assist along the way here; helping the arrangement along a bit and adding my own synth lead and some backing pads here and there. Props to Brandon Strader too for helping with some drum programming and doing the final mastering. Overall, I'm happy with how this track turned out. Gar did a great job! KingTiger I've loved Sonic for a long time, starting out with the original Sonic the Hedgehog game on the Sega Genesis From there, I've played (to death) all of the Sega Genesis Sonic games, and I started watching the cartoons (both SatAM and AoStH) and collecting the Archie comics (I still have them, I think I have about 300?).

I still have my Genesis with quite a few games too! Sonic CD was/is a bit of a cult classic, and back in the day, it held a similar status in my mind seeing as I didn't have a Sega CD, and my parents wouldn't let me get one, I had to make do with fantasy for a while, until I got the Sega PC version of the game, which was unfortunately pretty glitchy. Even though I knew nothing of the differing regional soundtracks at the time, I was quite obsessed with the music, and would regularly put the game CD in my CD player to listen to it. You can imagine my joy when Sonic CD was re-released in 2011. Not only was it not glitchy, but it gave you the option of which soundtrack to use!

I have it on both my Android and my PC, and even my two-year-old daughter loves watching me play. My involvement with the Sonic CD project started in 2012, after taking part in Matt's Sonic Zone Remix Competition.

After Rexy gathered some initial interest, Matt took the reins, and the rest is history. I joined up as quickly as I could and allowed most of the tracks to be claimed before taking Stardust Speedway. Stardust Speedway has always been one of my favorite tracks from the US soundtrack, and so it seemed like a good choice for me.

The only problem I encountered was the incredibly repetitive nature of the melody, so I had to take some creative measures. As I built my remix, I learned a lot about production through the help of Flexstyle and Phonetic Hero, and was able to make my track that much better. I'm really grateful to be a part of this project, and I hope you enjoy 'Road Trip' as much as I enjoyed making it.

Arceace This track initially started out as a little experiment with a couple of drum patterns. I used the main bass from the original and played it along with the drums. To my surprise, they went together perfectly, and the rest of the song happened naturally. My very first experience with OCR was when I discovered the album Project Chaos. I was amazed at the quality of each song, and some of my favorite remixes have come from that album.

Ever since then, I've always wanted to be a part of an album project for OCR, and I am extremely excited that the day has finally come. When I saw that Matt (SuperiorX) was looking to start the project, I was more than happy to volunteer. This has been a very rewarding experience for me in many ways. I am very proud that I was able to be a part of this project, and I can't wait to hear the final product. Phonetic Hero I wanted to start by saying this was a really fun project to work on, and though I didn't do as much as I could, it was fun staffing and giving feedback where I could help. Matt did a hell of a job orchestrating everything, and I'm sure it won't be his last album project as the head honcho!

So anyway, this track spawned from the absolutely unnerving mood original, especially when paired with an Easter egg at the sound menu of the game. By putting in a certain code, you're taken to a screen with a really messed up looking version of Sonic, with some Japanese text that translates to 'Fun is infinite with Sega Enterprises.

Signed, Majin (meaning Demon or Devil)'. Obviously, this is also where the name of the remix comes from. This track started off creepy, and only got more and more unsettling and eventually downright scary as I continued to work on it.

I usually work at night downstairs by myself, and I ended up freaking myself out pretty good a few times, which to me is a sign that I've done what I set out to do pretty effectively (or that I'm a big pansy:P ). Listen by yourself with the lights off for maximum effect:D. Jivemaster A late addition to the album, 'The Boom (Undeleted)' almost didn't happen. Taking inspiration from the all-but-forgotten 'Da Boom' remix - a pulled track from OCR, 'The Boom (Undeleted)' is the realisation of the remix I wanted to create 10 years ago. The tempo has been relaxed to create more of a traditional pop vibe, while still maintaining the original song's energy. Vocals are performed by OCR newcomer Rabcandy who brings a sweet playfulness to the track.

I'd like to give out a special thanks to ladyWildfire for her vocals in the initial proof of concept of this mix. Funk Fiction As a lot of Funk Fiction tracks are, Crystal Duration drew influence from numerous sources. In this case, French House, 90s Techno, Funk, Disco, VGM, and even hints of Psychedelic and Ambient. Mx Player Pro Cracked Apk Download.

The sources of the track are Special Zone and Metallic Madness. The objective was to find a way to intertwine them seamlessly into an elaborate, new composition. The track's title works 2 ways in reference to Sonic CD. In one, Crystal Duration is another way of saying Time Stone. In another, it's simply an abbreviation for 'CD'.

LadyWildfire I was unable to start production on this track for many months due to a tough class load, so I started much later than most other remixers on this project and was under a big time constraint. I was struggling with the direction to take on this piece, since Quartz Quadrant US doesn't have many distinct melodies. I chose to focus on the more ambient/electronic Future themes, combining the major-key Good Future's melody with the minor-key Bad Future's atmosphere. About halfway through production I asked my good friend Stevo (Level 99) to provide some samples, and it ended up fitting the track much better than I had expected. Near the end of production I was pressured into adding my own vocals to the track, which ended up being the final touch on what I now believe to be my most ambitious piece to date.

I put in many long nights and a ton of effort into this remix, and I hope you all love it like I do! Phonetic Hero Another quick fun track, Ethan had commented within the last couple/few weeks of the project's completion, and we decided REALLY late to make a track real quick before the end.

I threw down most of the bass work (gotta love those FM Genesis samples), drums (all of which were Genesis samples except for the snare(s)), and some of the leads, and shipped it off to him with just a couple days before Matt shipped the project off for eval, and he added more layers - pads, that sexy funk guitar, more leads in spots, and wrote us an ending. He sent stems back with probably half a day before sending it in, and I did a bit of tweaking on the mix and mastered it before sending the final track to Matt. It was a bit rushed, but overall I'm glad this one's being included, if only for the nods to Genesis-era Sonic.

Tuberz McGee This track came together in an attempt to write metal. This riff has some kind of chemical inability to be anything but funky-licious however and that premise was quickly dethroned. I decided to add the vocals as a joke first off, but then it actually became awesome. The track is a real first for me, but it's a sound I really want to continue doing. Mad props to Mr.

Sir Dude Jordanius Damashii!! He did a tonne of polishing on this and made it better than the wet rag that I presented. Brandon Strader For the Sonic CD album, instead of making the symphonic metal that was expected, I chose to follow a road less traveled artistically (at least in my repertoire), which was more ambient and disharmonic. I made a lot of mistakes, and structurally went less avant-garde than I had in mind, but still consider this one of my most creative arrangements. With live drums (including an undampened kick drum for the massive BWOMPS) and some tambourine and other stuff, I think the song has great subtlety but also a massive strength to it for some of the crescendos.

SuperiorX So the idea for this track actually came off a YouTube comment I read after we released our first album preview in April. Someone said something along the lines of 'I sure hope they do a Metallic Madness JP Good Future mix!' After reading that I checked out the source and remembered how different the Good Future mix was from the other Metallic Madness JP sources. I had an idea then to just make this an over-the-top triumphant 'We just saved the world' kind of track.

From there, this song basically wrote itself in 2 days time. I had loads of fun writing the main synth lead part and then went to town with those background orch hits. I wanted it to be a collab track, so I asked Pete to join in too and he added some truly awesome chip lead parts and made the really cool 8-bit breakdown section towards the end. I'm really happy with how this track ended up! Phonetic Hero Matt came to me in the late stages of the project with something he'd slapped together in a few hours, which is the main base of what's there now, and it was damn cool.

He'd tossed around the idea of another big mega-collab, but it ended up just being him and me. He did the bulk of the work (all the arranging, percussion, etc.), I just added in some chippy solos, the chip break (and the transition to it), and the duet harmonies at the end. I also did the final master, and I think the track as a whole ended up pretty darn good! It s a fun one for sure, enjoy! W!SE the all.E This song has a very, very special meaning to me, and although I put a lot of time and effort into making all of my remixes fun and enjoyable, I personally feel like this is my first official serious arrangement for OCR.

Without trying to paint this as larger than what it really is, I truly believe it is more than just a remix or a song. Those of you who have worked with me more often or are aware of my 'paperbag fencesitters' project know that I also make music under the moniker of 'W!SE the all.E' and with that alias my subject matter focuses on philosophical and social political deconstructions layered on top of futuristic Nujabes-esque beats. I wanted my first 'official' debut as W!SE on OCR to be very unique and create a distinct clue that my W!SE stuff is still coming from the same individual, I just approach music in a different way. In my honest opinion, I am a rapper and a hip hop lyricist first, a pianist second, and waaaaaaaaaaay down the line a producer/arranger.

So, concerning how I even approached this track, when SupX first contacted me about how he was cooking up a Sonic CD remix album my initial reaction was 'duuuude, you've gotta let me hop on Palm-tree Panic.' My original plan was to make a very chill bossa nova arrangement (I kind of wanted to deviate from my usual over-the-top funky stuff), but since 2012 through 2013 was such a stressful, trying time for me it took me forever to even churn out a basic WIP that I felt proud enough to show to SupX.

As I mentioned and alluded to in my collab with halc, my job tended to make me feel greatly discouraged, stressed, and depressed, in general; however, strangely, I always seem to be most in the zone for writing my deepest lyrics or composing what I believe to be my most intimate songs when I'm going through trying times. So, while revisiting my bossa WIP, I just randomly kept on singing some of the lyrics from a very old rap song of mine ('Elevator Music,' it mostly likely will not be revealed to the public any time soon), and over time I started beefing up the beat little by little until eventually I realized that I was going to have to just go straight up Nujabes with my approach and finally reveal my rapping side to the interwebs once again (I had taken an indefinite hiatus from rapping after the death of Jun Seba and prior to that I just began to lose interest in rapping altogether). So fast forward to about early Spring 2013. I'm sitting in the break room at work thinking about what to do with my WIP, and I don't just want to rehash all my lyrics from my original 'Elevator Music' So I just start with my original chorus lyrics up until the first verse ('Cubicles.' Through to '. Doors slammed shut just like another wall'), and I pick out a random W-4 form I see lying around (turn it over to the blank side since I didn’t have any paper on me), ask a co-worker if I can borrow a pen, and I just start to write. I'm not trying to brag or make this story incredibly dramatic, but I literally poured out all of my heart, frustration, hopes and desires in those fifteen minutes of intense stream of consciousness focus, and throughout the rest of the work shift I was so excited to get home and record my vocal ideas as soon as possible.

I did so and finally sent my idea to SupX (who in turn showed it to Phonetic) and they both gave me the green light which was all the encouragement I needed. With most of my rap songs (the serious, deep ones) there are three meanings: the literal meaning I know most people will understand at face value, the sub-contextual meaning you will get if you pay attention to my extended metaphors and allusions, and the fridge brilliance secret meaning which you will only get after you check out the original things I'm alluding to and then come back to listen to the song with these allusions and subtle nods in mind.

UK-based composer; I write music for videogames and other interactive media. My music tends to be guitar-based with elements of jazz, hip-hop, rock, house and folk.

I first became aware of VG music when I switched from my ZX Spectrum to a Sega Megadrive; I hadn't properly tuned it into my TV and didn't realise that Sonic 2 had REAL MUSIC! Ever since then it turned from a guilty pleasure into my dream job. My inspirations come from all over; I love DJ Shadow, Daft Punk, Chick Corea, Hiromi Uehara, Tim Follin, Akira Yamaoka, Dr.

Dre, Quantic and more. DiGi Valentine is a self-proclaimed 'Urban Nerd'.

A vocalist who will rap about anything that takes his fancy, blurring the lines between the serious side of old school street HipHop and the geeky side of Nerdcore. His inspirations come from everyday life experiences to video games, comic books and cartoons. He is heavily influenced by the 1990's in terms of style and flow, but keeps the nerd side of his act intact by showcasing his work under the guise of a cartoon character persona, 'Valentine' (a.k.a the Bunny Man).

While DiGi is the man based in reality, it would be Valentine that opens up the gateways to the fun and alternative side of his music. Pejman Roozbeh is a composer, producer and DJ living in Los Angeles, California.

With a flair for funk, he produces a wide variety of music from neoclassical pieces to soulful rare grooves. Hip Hop to House.

With his enthusiastic approach as a music lover, genre limits don't exist. Graduating with a BFA in Music Composition from the California Institute of the Arts (CalArts) in 2010, Pejman has created scores for films and produced music for indie video games. He currently works at Future Sound Studios in Hollywood, freelancing as a producer and songwriter, along with engineering recording and mix sessions. The most significant influences include Jamiroquai, Daft Punk, VGM, and classic Hip Hop. I was fortunate to get into music from the time I was in gradeschool and even more fortunate to have discovered my own love of video game music just a few years before.

I was always making cassette tapes out of the sound tests of the games I had for years and I loved listening to them over commercially released albums at the time. Later, I decided to go to college to study music in hopes of writing music for games among other things. It wasn't until I came across OCR back in 2005 that I was able to find other people that shared my enthusiasm for vgm and I've had a strong following to this site ever since. I realized my love for music at an early age, and participated in a few orchestras throughout high school and college. When visiting a friend whose brother had FL Studio on their computer, I quickly discovered a passion for creating music instead of just performing. Since then, I've slowly evolved my style, musical taste, and production skills, and now have a much better idea of where I want my musical career to lead me. While initially I was classically trained, I now have a passion for EDM and trance.

I've worked in many genres, and plan on continuing to experiment and evolve musically. I've been listening to game soundtracks for as long as I can remember. Sound Tests and tape recorders were a godsend in the early days when the idea of buying a game soundtrack in the U.S. Was unheard of.

When I first started getting into making music, my love of games quickly influenced it and I found myself fusing my love of electronic music with the works of my favorite VG composers. This has continued into the present day as I slowly build up both my experience and my home studio. But my attention span for these things is limited and I often find myself drifting back and forth between many different subgenres, sometimes within a single song. Some say this prevents me from having a firm musical identity, but honestly I wouldn't have it any other way. OverClocked Assembled, or O'sembled for short, is a collective that formed in 2013 to further promote hip-hop in video game music. Focusing on the upbeat, the old-school, the fun, and the funky, O'sembled combines sophisticated beats and instrumentation with infectious and witty rhymes. What started out as a few individuals with an idea for a Sonic CD mix, has since evolved into a extensive cadre of vocalists and instrumentalists alike.

Keep an eye out for what O'sembled has in store for the future! OverClocked Assembled consists of numerous rotating/guest members. On 'Time Traveller's Delight', the following people contributed: • Jordan Etienne (Sir Jordanius): Arrangement, Guitars, Backing Trumpet, Funk • Paul Ford (metaphist): Vocals - Verse 1 • Kary Brown (begoma): Vocals - Verse 2 • Niyazi Sonmez (DiGi Valentine): Vocals - Verse 3 • Joseph Guthrie (The Auracle): Vocals - Verse 4 • Dominic Malloy (BrothaDom): Hype/Backing Vocals • Matt Keller (SuperiorX): Lead Keys, Electric Piano • Adam Prack (C7): Lead Trumpet.

I'm a hobby musician living in England and a passionate gamer since Sonic's Genesis days. Geometry Dash Cracked Iphone on this page. I've been playing the piano since the age of 8, took interest in music for as long as I can remember and have still locked onto that passion today.

As a result of studying music production from my teen years, I found myself to be open to many different varieties of music, which seemed to help with my time here within the wider remixing scene - I may have some distinguishable writing traits, but I don't consider myself to be shoehorned into a specific genre. At the end of the day, I'm driven by my hobbies - usually if a scene in a videogame or any musical sighting inspires me, that's what I need to get writing. I first got back into remixing way back in 2002 playing around on ModPlug Tracker, but didn’t really get serious (or really any good at it) until around 2011 when I started hanging around the OCR forums more frequently. Sony ACID Pro is my DAW of choice, honestly because it was the first one I ever used and haven’t bothered to switch since.

I also have a full size Yamaha keyboard that I use to record some stuff every once in a while. I don’t really stick to one genre in my mixes, but a lot of my stuff typically involves some jazz and funk influences, although recently I’ve been getting more into electronica and even some chiptune styles. My favorite game soundtracks are definitely the classic Mega Man and Sonic the Hedgehog series, which probably explains why nearly all my remixes are exclusively from those two series.

After following the remixes for years, Theory of N, born Dustin Lagaly, finally became an active member in the OverClocked ReMix community in early 2007. Since then, his passion for music and video games has spawned numerous remixes as well as hundreds of original tracks and an original EP titled 'Beep Boop.' He has played saxophone in multiple classical and jazz ensembles and his affinity for jazz shows in his arrangments. Mix in a chiptune aesthetic with the jazz influence and you get a truly unique sound that is Theory of N.

I'm Sami, and I'm currently an art student at college. My hobbies include playing video games, drawing, and watching anime. I've been a massive Sonic fan all my life, so when I was asked to take part in the project I was really excited, as Sonic CD is one of my favourite Sonic games! Sonic CD has probably the best visuals (in terms of level design) out of the classic games, so I had a lot of fun creating art for the album! It gave me a good excuse to research the themes and art styles behind the levels/characters in the game. It's been a real pleasure to have contributed to the project, and I hope everyone likes my art!:).

I first got back into remixing way back in 2002 playing around on ModPlug Tracker, but didn’t really get serious (or really any good at it) until around 2011 when I started hanging around the OCR forums more frequently. Sony ACID Pro is my DAW of choice, honestly because it was the first one I ever used and haven’t bothered to switch since. I also have a full size Yamaha keyboard that I use to record some stuff every once in a while. I don’t really stick to one genre in my mixes, but a lot of my stuff typically involves some jazz and funk influences, although recently I’ve been getting more into electronica and even some chiptune styles. My favorite game soundtracks are definitely the classic Mega Man and Sonic the Hedgehog series, which probably explains why nearly all my remixes are exclusively from those two series.

About OverClocked ReMix Founded in 1999, OverClocked ReMix is an organization dedicated to the appreciation and promotion of video game music as an art form. Its primary focus is, a website featuring thousands of free fan arrangements, information on game music and composers, resources for aspiring artists, and a thriving community of video game music fans.

OCRは１９９９年に創立されて、ゲーム音楽への感謝、保存、演出に専念するための組織です。OCRの主要な活動は で見つかるインターネットサイト。このサイトに数百のゲーム音楽好きに作られたリミックスのMP3と、ゲームの音楽と作曲家の情報と、音楽家を熱望している人のための供給源と、にぎやかなゲーム音楽のファンがいっぱいいます。.

Buckethead performing in 2008. Studio albums 304 Music videos 3 Special releases 4 Extended plays 1 Demo tapes 5 Solo DVD Videos 3 is an American musician, predominantly a guitarist. The following is a of works by Buckethead, which currently consists of 302 (including 272 Pikes), 1 live album, 4 special releases, 1, 5 demo tapes, 3 solo DVD video releases, 2 DVD video releases with, 3 music videos, 3 unreleased albums, 3 solo videography releases, and 16 videography releases with other artists.

Since 1994, Buckethead has released 6 studio efforts under the of Death Cube K. He has released 74 works with other bands and artists (including his work as Death Cube K). The total number of studio albums, special releases, extended plays, demo tapes, and works with other bands and projects is 378. His guest appearances total 97. His videography releases total 19. In total, Buckethead has been involved with 475 different album projects (as solo or with other bands).

As of his 304th solo studio album and his 273rd establishment of Pikes series, Guillotine Furnace, his total solo studio album running time is approximately 161 hours.