prophetik music   Judges ⚖️

some sfx to start alongside the cymbals to lead in, and the band's all in right at the beginning. band sound is great - drums, bass, keys, saxes makes a nice ensemble. as the last time i heard April play, i think the alto's tone is a bit boxed up - really sounds like the mic isn't at the bell but is up by the left hand, which gives it a closed tone. tenor tone is again fantastic. there's some vibes around the 1:15 that are really nice. consider varying your vibrato speed faster and slower occasionally on the sustains - like at 1:30, slowing it down over the length of the note would really add a neat feel to it. some of the unisons/octaves in here aren't 100% in tune. 2:01's one of the aforementioned key changes. there's some fun harmonized elements in here. the saxes aren't in tune. there's a recap of the opening stuff at 2:38, and then a piano solo that focused a lot around block chords which i think really fits the feel. bass here sounds a little too forward and big. alto's got some funky notes in the solo, and then it moves into another recap of the b theme with some extra backing pads. there's the c section, and the track ends on a final sustain that's not quite where you expect. leaving the pad noise in after the last drum fill is fun. this is pretty straightforward and nails the style well. the sax intonation wasn't great (avoiding octaves can help hide that!), but the overall feel is solid. nice work. YES edit 8/20: the updated intonation fixed my biggest issue. this is still good to go.

gets right into it. panned hats and bass right off the bat, and the melody actually comes in after the vocals do. neat idea. there's a ton of ear candy as expected from something chimpa built out. the two vocal lines pace each other very well. there's a few words that sound funky (always and crawlin around 0:55 are examples), but overall the prosody is pretty solid. there's a melodic break for a bit before the second verse hits at 1:27. this whole section functions as a break, and the plucks and bass movement (and nice sustain!) at 2:06 are a really neat vibe that ultimately winds up being a false build into a bridge. really nice song development. there's some chippy synths for a bit before we get a recap of the opening lines at 3:22. there's some fun sound design to play us off, and it's done. this is a great track! probably my favorite from ad.mixx overall. i love the direction, the concept, and the story. kris of course knocks the backing elements out, there's so much to find on relistens of each section. fantastic job here. YES

opens with some beach sfx and some poppy keys. quickly gets into a melody that's built off of the arpeggiated sequence from the original alongside the expected percussion and additional instrumentation. bass is really quiet off the bat and the water sfx continues for a while which is probably at least partially why that's the case. i really like the octave doubling in the melody here. there's a bit of a break for about eight seconds and we get into a solo break at 1:18. some nice turns in here (and at least one that doesn't work, at 1:34), before a really smooth break for some mallet percussion. the main vibe comes back at 2:06. the backing keys here are a touch loud, but i like some of the extra fills being added in the percussion, and i like the personalization of the lead. there's a recap of the earlier mallet break, and then some sfx see us out the door. this is quick and fun. truly not an adaptation i would have ever expected. nice work. YES

i really prefer the normal too-many-words writeup from lucas =P opens with some spanish-style acoustic guitar and shakers, and gets to the melodic material at 0:40 alongside the addition of hand percussion and rhythm guitar. the backing elements take a few seconds to get settled in and are a bit shaky for the first ~30s, but they lock in around when the harmonized melodic elements start around 1:05. the rhythm guitars are also heavily panned which is more noticeable on headphones, but overall the band sound here is fun. the strings that come in around 1:32 are really nice and subtle, and add a surprising amount of warmth. 1:57's a recap of the Velvet Room theme section from the original, and i like the tremolos on the sustains as a method to convey the held notes. there's a nice break around the 2:48 with just the earlier strings (they sound a touch behind the beat when they're isolated like this), and the following chorus functions well as a build (the marcato strings help here) into the solo section at 3:40. sounds like dueling solos to me which is something i have always enjoyed. there's one more recap of the Velvet Room theme, and a sustained chord for the end, and it's done. this is a fun ride! the simplicity of the instrumentation really shines out here and allows the performances to be the main focus. i thought the rhythm guitar was slightly ahead of the beat throughout, which made slower attacks in the strings and the groove of the drums to sound a bit weird sometimes, but overall this is a really enjoyable take. i particularly liked the way you were able to use several different sections from an original that is pretty long and has a lot of variance between sections. nice work. YES

in my last vote, i called out the need for EQing and volumization to avoid clipping, but loved the arrangement. i love the delicate opening guitar work, with so much variety in how the instrument's being used. the fluttery, glassy burbles around the 1:00 mark are really nice. there's a bit of a break at 1:23, and we get a new feel coming out of that when the melody comes back at 1:35. the vocals are just light and distant enough to really add flavor without being able to focus on them - the spacing is really nice. there's an outro that's pretty rhythmic, and it's done. this is now a lay-up in my opinion. mix is far better, approach is simple but beautiful, and the vibe is great. nice job! YES

those of us who haven't ever titled something like this, raise your hands... opens with some really interesting kalimba-esque plucks on the theme before it starts getting into a minute-long build-up. kick's in at 0:23 and it's this big, boomy, housey feel. a bunch of fun build elements later, we get a stable beat at 0:54 complete with breathers and all sorts of stuff popping in and out of the texture. it's a great bed for the strange melodic material that is this original. 1:41's the first real drop, and i like the melody being down an octave as a way to visualize that. the beat drops entirely at 2:12, and this is a much spacier exploration of atmosphere for a bit before we get back some sidechained elements again. i wouldn't have minded the melodic element changing for this whole build through here. there's a bit of melodic expansion around the three minute mark before we get into another big build section. 3:45 brings back the band alongside some fun sfx additions and rhythmic expansion of the melody material. 4:30 or so is another drop, and there's more atmosphere on this one. i liked the more organic feel of this drop, and when the beat comes back it still feels pretty organic - the beat's far away, and there's a lot more sfx work than before which tended to be more pitched. there's an extended outro here that is mostly pads doing interesting swirly phased things, and it's done. this is a lay-up, as expected. i love the expansion of such a simple but interesting original, and i love just how detailed it is throughout. excellent work. YES

opens with the descending arp of the original in a funky 80s-feel synth. beat comes in at 0:15, and i can definitely hear where you're trying to go with this. the piano that comes in at 0:27 is painfully square and robotic unfortunately, and the sample isn't great either. the offbeat pops fit the concept well though. melody comes in at 0:39, and there's some nice panning on it to help it feel more organic in the way it moves. the backing is very static until 1:24 when there's a short break - i'd have liked to hear more to mix it up, especially given that there's only a few instruments playing and not much to keep it unique. the chorus uses a new beat which is nice, but the piano especially is starting to really grate as it's doing the same thing most of the time and it's tiresome to listen to. the piano solo at 2:13 is nice. there's a percussive element in the left ear that is notably far away from anything else in that side and it sticks out a lot. there's another chorus, and what initially feels like an ending until it's made more obvious that it's a transition into more of a shuffle. 4:02 brings in a lot of other elements that don't really get explored much. there's some distance put into the overall tone, and then a single chord finishes the song off. it really seems like you approached this with a goal of simplicity and a patient approach, and i think that's a cool idea for this. i really think this is too stripped back, and separately what's here isn't used to full potential. i think that adding even a single countermelodic element would add a lot to the work overall, and separately (and more importantly) there's so little personalization or velocitization applied to anything outside of the synth blats throughout. the block chords in the piano for example don't change dynamics or approach ever throughout, and the lead instruments also do not have clear examples of velocitization outside of one specific color note in the piano solo. along those lines, each major section has a clear sound that's established in the first bar which doesn't change throughout that entire section. it's too repetitive and it becomes very obvious very quick. i think there's too much repetition throughout, and not enough personalization especially to the backing parts. this needs another pass. NO

took a second to grok what was going on, but there's some really fun stuff going on in that intro. the beat is really fun too, i liked the detuned hat drop effect. lead is unfortunately pretty basic - even a little lfo over time to the sustain tone would have helped. i like the backing blurbs more. there's a break at 0:56 for a bit, and we get some gliding stuff as a neat palate cleanser for a short while before the synth/eguitar comes in at 1:24 as the lead for a short solo. there's a recap of the melodic material before a much more intense B section at 1:51. i really liked the idea here and wish it was more involved. one lil jon sample later, we're in a riding pattern that fades out to end it. i wouldn't have minded the bass there being a touch quieter. this is a neat idea! i think the leads are really boring but i love the concept beyond that. i think this would have been a favorite of a lot of folks in, like 2004-2006. i think this is pretty borderline myself, but probably would lean on the side of good enough due to the fun arrangement and really interesting beat work. i can definitely see the leads pulling down for other Js though and would focus on that if this doesn't make it. YES

really neat original. that short synth tone is really unique. opens with some bells and ambient synths. it doesn't sound like most of the things being played are the original, but rather following a similar structure. the beat comes in at 0:28, and the strings that eventually come in also are outlining a descending pattern that isn't the same notes or particularly close to the original. same with the eventual synth arp. beat drops around 1:22 for a bit, but comes back unchanged. there's a recap of what just happened, and the opening bells come in too, but still no source. we get something that's again reminiscent of the original at 2:03, but all that includes is movement from the 5 to the b6 and b7 - none of the 5 b6 4 5 pattern that permeates the original, and also none of the little 7-8 lick that stands out in the original as well. we get another break at 2:44 with some choral elements, but the same taiko and synth elements in the background are still there. we do get some more unique strings after this when the same beat comes back in again, but nothing from the original. there's a fun stutter effect in the strings near the end, and then it's done with the arps fading out (over a very long time, this probably should be shortened by half if not more). unfortunately this doesn't really appear to be a remix of the Cradle Under the Star theme, but rather something inspired by it or reminiscent of it. there's no actual original material that i can hear in the track you've submitted. so that's a dealbreaker right there. separately, it's really obvious in here where you copy/paste each individual element's block of material - the synth does the same thing every time it shows up, the beat is the same, the taiko element is the same, etc. even the fake scream transition sfx is used repeatedly. that much repetition becomes really noticeable really quickly when you listen to something more than once. spending the extra time to make each entrance of an instrument unique is absolutely worth it. if this was a complete arrangement of the original, i'd probably still reject it due to how muddy and overly dense the representation is, and how much repetition is used. i think that the original's neat and there's definitely legs for this style of arrangement. trimming the fat and making it more clearly related to the original will definitely help craft a better overall product. NO

big guitar-driven intro, as expected from the artist. it gets right after the melodic material, and there's some manipulation there. i don't her a ton of bass, which is unfortunate, but it sounds like the rhythm guitar occupies a lot of that space. there's a nice chorus break at 1:01 that, while it isn't quieter or different instrumentation, functions as a good separator between the first and second runthroughs of the melodic material. 1:34's another runthrough of the melody, and the instrumentation here is pretty empty as the rhythm guitar and bass are both pretty high relatively speaking. some pad work or mixing up the rhythm of the backing elements would make a big difference there. there's another chorus section, a solo break that's pretty solid, and then an ending that didn't make much sense to me at all - both in how it resolves to a non-root chord and in why it's so sudden without any real closing element. and it's done. i think this is pretty borderline, to be honest. the rhythm guitar work is pretty much the same throughout, the overall arrangement doesn't really take many if any risks, and the ending is blasé. but i think the overall band sound for the melodic and chorus sections is mostly fine and it's mixed aggressively and fairly clearly. there's certainly things i wish would have been done differently, but this is fun as it is and a fine representation of the original. YES

bass line to start doesn't sound great solo - the lack of difference between the attacks are very obvious. beat sounds nice and i like the other backing elements that come in as well at 0:20. the scratches are solid - i like what's done to the vocal snip before the B section for example. the keys that come in during the B section are also just the right vibe. i wouldn't have minded a bit of wah on the vibes for the B melody. there's a recap of the A section at 1:30 - i wouldn't have minded a bit less of the scratch volume here and another padding element to fill it in and keep the feel moving. C section starts at 1:55 and this is also a bit in need of a padding element. also the snare here is pretty loud compared to everything else. the autopan at D (~2:41)is a lot and disconcerting on headphones - it would have been nice to have half the distance in that pan. it settles down a bit at 3:27 and is a little easier to take there, but it's still a lot. i like the additional sustained element put into the melodic material there. we get another recap of the A material and then the track's done. overall this is a fun ride! really interesting example of the style you're going for. i wouldn't have minded for the autopan to be less and the snare to be a bit dirtier (and probably a bit quieter), but overall this is a solid take on a pretty theme. nice work. YES

i YES'd this before while commenting on the samples not being 100% across the board. i don't need to do as much of a write-up this time around as most of my positive comments stay the same. 1:57's fast movement in the low instruments is still a little sluggish (but that isn't changing without some serious cash in the samples), and the arrangement is still dynamic and exciting to listen to. part 6 (the half-time melody movement in the bass instruments) is my favorite part. this is still a clear pass for me. YES

the synth riff is immediately recognizable. i also like the big bass and the fun 90s synth guitar near the end. the arrangement itself is definitely nowhere near developed enough for us, unfortunately, although i like the changes you've added in the second half. an easy and quick way to expand the arrangement would be to have some chordal movement right away - going from the Fm to, say, a Db chord within the opening 30 seconds, then to a Bb or Eb would help move the progression along a lot and add a surprising amount of breadth to what you've got here. i actually don't think you need melodic material, although that's another easy way to add uniqueness to an arrangement - i think that just varying the chord progression (or, y'know, having one at all) earlier in the piece would be enough. that'd lead naturally into breaks and builds as well, and some level of added dynamics would also really help the track not feel same-y throughout. kick sounds a touch heavy next to the bass, and imo layering the bass with a less noisy version with more fundamental would help give it a bit of punch that it doesn't have. some window dressing and this is probably good enough for us. just needs more body to the arrangement and you'll be there. NO

opens with some vocals over guitars. the guitar parts sound really nuanced and nice here, and the vocals sound pretty indie. there's a huge build into 0:46, and i love the pause on the chord that is used for this. band tone is great and in your face, especially the kick beater which i really like. bass guitar tone is lost a little. the characteristic CT funk sound starts at 1:05, and there's some fun backing elements here to keep it fresh. lead guitar at 1:36 sounds fantastic. the panned rhythm elements in this section are IMO too panned and are distractingly wide, but i like what they're doing. there's a big break at 2:03 with some nice percussive elements and little blurbs in the instrumentation. the vocals here form a nice pad to everything else. another big build into 2:37, and i again like how driving and heavy the kick especially is here. 3:02's a hair-raiser, and the immediately following section is fantastic - that first chord is excellent. layering in the synth lead from earlier with the last piece of the melodic content as part of a harmonized end line is great. there's a final chord and it's done. what a ride! the opening was a little worrisome given the vox sounding pretty meh, but this takes off and never looks back. i really enjoy the overall shape of the piece and the highs are just perfect. excellent work. YES

won't be voting here, but wanted to note that hemo made this a pretty easy track to pick up and play on. 10/10 would collab again. also, it's def 9/8, but also definitely very slow. the main beats in the first measure are the opening kick and then the two subsequent piano chords. dotted quarter note is about 60-62bpm.

my main concern with the last version was the timing across the board. opening faster runs at 0:12 still rush a bit, but it's not bad and makes it clear that it's live, so it isn't as big as deal as some elements last time around. the faster clapping section around 1:06 really sounds great - it's timed just right to feel like a busker or street performer. 1:27 is oodles better than last time around, and the solo section sounds great. the octave section at the end is a great ending to the track. loads better this time around, very easy vote. nice work! YES

this song again has over a minute of silence after it, similar to your Song of Storm submission. please trim the silence off of the end of your tracks before submission. opens with the original's arpeggio in the piano to open, with a slower overall tempo. 0:14 brings in the melodic line in the cello. there's a few other elements brought in at 0:28 and it gets pretty overwhelmingly loud for a bit. the piano break after is straight from the original and doesn't sound modified, and then we get a full band sound at 1:15. there's some fun elements here - the electric guitar's tone is great, and i like the downtempo feel in the bass. none of the instruments sound particularly real or balanced as everything's just layered in, but the idea is fun. the melody drops and the arpeggio is in the guitar for a bit before a sudden stop, and it's done. from an arrangement perspective, there's not a lot here that isn't in the original. i like the band feel that comes in at 1:15, but there's no new countermelodic elements, no personalization or chord changes - nothing that is Hupusu, just stuff that is Alexander Brandon but in new instrumentation. so that'd need to change before this could be considered. separately, the instruments are not particularly good - there are way more free options out there that'd really improve this, including string and piano soundfonts and VSTs - and the mix is dense because everything's just layered in with no effecting or compression or EQing. so there's a lot to work on here! but i think that the feel you get at 1:15 is great, and a good example that you know what you want to get to and it's just a matter of learning the steps along the way. i'd encourage you to take a look at the Workshop discord or forum on the site so that you can get some suggestions and start learning to improve. NO

this is 26 seconds long with 28s of silence after it. it's a neat tech demo concept but isn't close to what we could accept here unfortunately. there's nowhere near enough development of arrangement to meet our arrangement requirements, and the instrumentation isn't what we'd expect to see either. i'd encourage you to review the Standards - notably points 1.2., 4.2., and 5.2 - as they detail what we expect for our site. if you fleshed this arrangement out some more and looked into some of the free VSTs and sample packs that are available on the web, i definitely think you could turn this into something legit! but what's here isn't there yet. consider the Workshop discord or forum for additional resources. NO

This song was originally created as a way for me to learn how to use LFOs, as I've been comfortable in DAWs for years, but never really produced anything meaningful--and if you can believe it, never knowingly used LFOs. Serum 2 had dropped a few weeks prior to me starting on this, and everyone lost their minds over the plugin, going as far as crashing the download servers. I wanted to not only familiarize myself with Serum 2, a tool that the entire amateur music industry seemed to collectively soil its pants over, but also to learn how to use LFOs in a way that is both textbook and also wide-breadth application, so that I can use them more in future projects. I also really, really like Half-Life, for all its janky glory in 2025. It's a formative game for me. The core, lead synthesizer to the remix, audible from beginning to end with very little breakage, is based on something not even the original composer created: it was a stock sample from a trance music sample disc from the mid 90s. I decided to recreate it from scratch so that I could manipulate it as I saw fit. Given the game's propensity to use samples for a large part of its soundtrack, I feel it necessary to clarify that there are no samples whatsoever from the original game song in this remix. The lead synthesizer alone utilizes six LFO channels, each on a different programming (retrigger, duration/how many bars, etc.) to automate its various textures and filters. This was the point of the exercise. Nearly every other track in the song uses 2 to 4 of their own LFO channels, and the rest is either sampled (sourced from my Splice back-catalog, 909 kits, or whatever else I had onhand) or oscillators tweaked to imitate the timbre of real instruments (the electric guitars, for example, are not sampled guitars--they're distorted and shaped sawtooth oscillators). The original song is a lot simpler, and has a more obvious A-B-C sequence of structure, like verses to a lyrical song, but not really. I decided to try and unify some of these sections together so the song sounds less like four separate ideas concatenated together, and more like a song that evolves and riffs on the same cool sequencer lick. Thus, the song is more of a buildup, reaching a bridge section which drops most of the percussion except for a Daft Punk-esque tambourine, and a crescendo climax which integrates faux electric guitar and the heavily chorused/flanged synthesizers typical of Half-Life music. Vocals are a mixture of scatting/improv vocal samples and a gospel choir thrown in there, because it's the closest in feel that I could think of to match the as-yet-unknown vocal sample of the original song. For mixing, I tried to ensure each instrument channel had an EQ register of its own, but there was always bound to be some overlap as instruments sound pretty bland and unconvincing without their harmonics. The climax of the song had to be compressed to ensure all the loudness of the various lead instruments coalescing together didn't destroy anyone's speakers. This part is the weakest part of the mix by far, but Half-Life 1 music is very in-your-face and dare I say aggressively 90s, and I don't feel bad about it being loud--I just hope it doesn't lose too much of the plot. I'm not a music producer, I just like OCR and Half-Life. I'll accept any feedback and make changes as the review staff see fit. Games & Sources Game is based on the outro/credits theme to Half-Life 1 Original song here HL2 also sampled this song for its own credits theme, but it was fairly different in that version, different enough to be its own song (and very short, only around 30 seconds) Both songs are by Kelly Bailey The main synthesizer hook, audible from the very beginning, in the original game's soundtrack was a sample from the disc entitled Trance Formation: Creative Essentials Sampling CD - Volume 6, track 19, sample 3, "Trippy Seq. 3 F 120." This sample was recreated in my own style for the remix. A large quantity of samples are used in the HL1 soundtrack, none of which are used in this remix--I tried to source my own or create my own. A list of known samples from the original song can be found here.

opens with some very light piano. the hammer tone of the higher octave of the keys around 0:17 sticks out a bit, but that's a VST limitation more than anything. there's some really nice sequencing in the approach here - starting with the higher octave, moving to left hand block chords, and then by a minute in moving to a more flowing left hand, with more personalization in the right hand - it's a really nice flow. 1:30 adds in some third-hand panned elements which give it a bit of a spacey feel for a bit, a neat addition. 1:42 brings in a new, fuller orchestration that also features constant motion which i think helps convey the feel the remixer was going for. 2:33's focus on the IV-vi movement is really nice and helps emphasize the really nice original elements that make this a nice song. around here though i noticed that most of the right hand had been hammering for over a minute at about the same velocity, and it starts to be a little uncanny valley/machine gun. there's an absolutely delightful transition and key change into 2:58 (genuine smile there, it's great), and we get some noodles that are ultimately a setup for the ending. there's an extremely light doubling in the upper octave for the last line that i wish was a bit louder because i love the idea, and then it's done. i don't think this is too conservative for the site at all! i think there's some real fresh air in this arrangement and approach. really appreciate the couple specific times you really changed it up (like at 2:58), and wouldn't have minded more of that, but what's here is great. YES

Other artists/credits: jnWake (Electric Piano, Lead Synth, Organ) roqdrummer (Drums) streifig (Lead & Additional Guitar) Nivan Sharma (Lead & Additional Guitar) Justin Wilbanks (Drum Recording & Editing) Besides the arrangement, I also handled the bass parts, rhythm guitars (and some additional guitars), vocals, and mixing and mastering. I was inspired to arrange this song after seeing the band F8-Bit perform it live. At home, I picked up my 6-string guitar and started playing some arpeggios reminiscent of the chord progression in the second-to-last section. In reality, I was playing a guitar part very similar to a part I came up with for one of my band's songs that happens to have a pretty similar chord progression; that part was ironically inspired by Chrono Trigger/Cross and Yasunori Mitsuda in general, so I thought it would be poetic to use it as a base to start my arrangement. My guitar was also tuned to Eb standard, and I was playing the section in Eb minor, even though the original section was in B minor, so it results in a wildly different key than the original for the intro; once the band kicks in and the original first section kicks in, it transitions to G# minor, a half-step down from the original, and it remains a half-step down throughout the song and the two key changes found in the song. The structure is more or less like the original, aside from some added bars in some transitions, as well as the last two sections each having a repetition; the OG second-to-last section starts with a more laid-back variant much like the original, but then it explodes into a bombastic, epic version, featuring streifig's huge lead guitars. Then, with an extra sick drum and guitar fill, the final section starts without the melody and instead has a beautiful and melodic guitar solo (handled by my longtime vgm friend Nivan Sharma!), before finally coming back to the original melody (with an added harmony!), and an extra little set of rhythmic jabs and a drum fill to send it off. Style and genre wise, I labelled this as Prog Rock/Prog Metal in my YouTube upload title, as I typically do on my channel as the best-fitting label, but I also took some inspiration from some post-rock/space rock with the shimmery and big reverby guitars (big reason why streifig was invited onto this project!), as well as more alternative metal and post-hardcore music when it comes to the driving rhythm of the drum part I gave to Roque, and the kind of rhythm guitar parts I came up with; the arrangement inevitably became more proggy with what I got back from Roque though, as well as the bass and keyboard parts, and the rhythm guitar parts aren't especially noticeable or at the forefront with the melodies and other embellishments added on top. This was originally done as a submission to Dwelling of Duels in March of 2025 for one of its Free months. Since then, I recently did some mixing/mastering touch ups and finally uploaded it to my own YouTube channel at the start of July. Games & Sources Chrono Trigger - Chrono Trigger Chrono Trigger - Schala's Theme Chrono Cross - Radical Dreamers ~Le Tresor Interdit~ These two are not the focus of the arrangement, and are just referenced as easter eggs that are pretty subtle, especially Schala's Theme; the main melody is referenced in the intro section by a guitar kind of in the background, and Radical Dreamers is referenced in the second quieter section in the middle and the bigger section right after that by a few instruments; first by a shimmery clean guitar + vocals doing the Chrono Cross melody (which is important in the game's story), and another background guitar doing the main melody; then in the bigger section, the CC melody is played by the lead synth. In both sections, one or two guitar parts reference the guitar arpeggios. Wasn't entirely sure if I really needed to note these sources since they're just easter eggs, but maybe better safe than sorry.

I just love this song and I had to do an arrangement of it Games & Sources Tyrian 2000, Composition in Q

The song is a very short arrangement of the Song of Storms from Legend of Zelda Ocarina of Time, it's abou 54 seconds long, I chose to make it short so it can be used maybe as a ringtone or a short background song Games & Sources Legend of Zelda Ocarina of Time, Song of Storms

(Don't publish until the release of Chambers of Time, planned for August 1st) Arrangement, Mixing & Master: Lucas Guimaraes Bassoon & Editing: Andrew Gossett Flute: GameroftheWinds Clarinet: Steven Higbee Alto Sax: prophetik music No track rundown since it's basically all source. These days I'm less likely to join an album project unless I REALLY want to. Just a matter of allocating time and all that. As soon as I saw "Chrono Trigger Chamber Album" I was like "I'm in." Magus' theme was tricky for two reasons. One, it's one of my favorite VGM tunes of all time. Quite possibly my favorite Chrono Trigger theme. Two, I know people usually say they have difficulty working with a bad source. I can usually cobble something with a bad source if there's something I like in it (see Livin' Out Our Last Days where I hated one of the tracks and was neutral to the other) but here I legitimately started off strong with the structure and then... struggled to fill in a lot of parts on my own. When the original already does a perfect job and I don't have a unique structure idea (There's a remix of Aquatic Ambience I performed live with Lucas Guimaraes & The Dunites where I had that structure from the word go) it becomes a huge puzzle for me. That said, this was probably both some of the most fun and biggest annoyances I had with editing. I really tried to hone in on making everything as good as possible. Proph and I bounced around edits back and forth until Andrew told me "yeah, I recorded Bassoon already". The mix doesn't have too much to talk about, but I've been looking for ways to streamline and optimize my mixing workflow. Used the same template as The Castle Whispers. Oh, yeah, you might've noticed Prophetik there. Prophetik's our new saxophonist for WW and I'm so happy and relieved at that change. I definitely don't have the bandwidth to perform for the group and do all the other duties I have, plus having proph on board allows me to pester him for feedback (I jest, I jest). Funny enough, Proph inquired about joining thanks to The Castle Whispers. Working with these four friends is always wonderful and we're always learning so much from each other. Yeah, the arrangement and mix rule, but these performances really shine. Everyone's tone really shines. I was chatting with Thomas Kresge at VGM CON about how I've always been so humbled by The Game Brass's quality, and he said to me something that really stuck: "Keep going and see the jump at your 50th arrangement." - It's really motivated me to keep going with this group. Here's hoping we make it to #50 eventually. Give it a few years. Hope you all enjoy! Games & Sources

the original decision thread is here: source breakdown remains the same. changes for the resub: - tried to tighten the timing in general, especially in the middle section - changed some of the shaker patterns to add more dynamics, - unmuted the handclaps track i've recorded for the original version special thanks to Argle in the OCR discord for helping me fixing the timing. Games & Sources Sky Shark - Stage 2