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A previously unreleased remix. 😎

Hey guys, I just finished this downtempo remix that I had put down for years. Curious what you guys think of the low end in this mix. Act 2-1 source Boss source

The overall soundscape is really beautiful, except some few things I would change: 1) The little piano intro sounds like a pretty stiff 'n' static lead-in, especially concerning rhythm and tonality. Maybe compose a different piano intro with some nice chords, vary the rhythm, let it breathe a bit and change MIDI velocity that it will sound more natural - or use a fitting synth instead (but the piano can fit really well for the little intro if you make some nice changes). 2) Strings sound kinda solid most of the time, but especially the repeating part from 0:40 to 0:52 could need much more dynamics and bit compositional variety to sound less annoying. 3) Work a little more on compositional variety, feel free to incorporate a little break, and for compositional enhancement and elevation, feel free to fall back on the cool lead sound from the original for a certain period of time. But apart from that, pretty cool 'n' fresh approach. ))

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I've already thanked you in Discord, but I'll say it again—thank you! Your critique really helped me identify areas I need to improve, mainly mixing and EQing, so I can make my basslines and drums hit harder. Like I mentioned in my original post, my goal was to create something pretty close to 1:1 to practice composing and understand how some of my favorite producers build their tracks. But I think it’d be cool to venture off the beaten path and create something more unique within that framework. I might take that approach with this track down the line. I'm still learning, but this feedback has been super valuable to my growth!

I like the overall sound design, pleasant vibe. Especially the strings, fantastic. Needs a bit more punch with the drums and bass imo. Doesn't shake my system much, even with the bass boost on. A huge complaint I have here: I feel like the backing sticks out too much, especially right at the beginning. If it was being used as a transition into some original content, it would be fine. But it sticks out in an almost jarring way with seemingly no purpose. And, of course, you need some original content. It doesn't need to be crazy, as I found out in getting a remix accepted recently. Just own it, make it your own. You'll notice that a lot of accepted remixes here start with the source material, divert into an original section, then return to the source to close out. The sky's the limit!

Hello everyone! I've recently rekindled my passion for music after a long hiatus and have started exploring it again. I used to be a hip-hop sample-based producer, but I found myself getting bored with that style. Now, I'm eager to learn how to compose video game music by remaking tracks from my favorite games. I recently remade the Green Hill Zone theme and would greatly appreciate any constructive criticism. I believe that understanding my areas for improvement is essential for my growth as a musician. Thanks!!! https://youtu.be/RK4bJ3kPt7c?si=gTmsTLUayJs95Y9n

Prophetik did an incredible job articulating the issues on this. So I won't rehash the same points I had as well. I agree with him. I have to start out by mentioning that I liked the idea of doing a reharmonization. I especially like the changes for the chorus, the bass motion (the walk-up) in particular really works for me. However, the chord choices themselves don't really seem to work and fully support what's going on melodically in the voices. Solo was creative but needs work on the rigidity of the sequencing to feel more human. It feels fake in performance, but the tone could be considered to be more convincing and real sounding. When the final chorus starts we get a huge step up in terms of energy in the drums. While I agree this is the right time to step up the energy, the blasting of the kick is not working for me here, and I think that's purely a mixing/production issue (not part writing). The drums are much too loud and forward in the mix here. The production on this is very messy and does need to be addressed. The parts don't sound like they're in the same room with each other, and the vocalists sound unsupported. Their performances sound ok, but just don't sit in the mix with everything else. When all of the parts are playing together they're fighting with each other for space rather than working together to create a single whole. Decide what should be foreground, middle-ground, and background and use the mix to inform the listener what we should be focusing on. Some good ideas here, but the execution of the mix and sequencing did not work out. NO

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Awesome guitar cover - didn't know that there were other cool themes in the game besides Gambit's Theme. )) The humbucker configuration for the rich, thick lead sound of the electric guitar fits really well into this soundtrack, like a fat lead synth. Pretty nice guitar skills. I just started learning to play electric guitar recently (Ibanez Gio GRG-140-WH with 1 humbucker and 2 single coils), largely under the guidance of a reference book, but also by using my own methods (for example, by learning and playing a fairly uniform scale system that takes the individual octaves into account and allows you to climb up and down relatively easily). How many years did it take you (and how long did you practice on average each week) to get to this level?

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Here's my rock cover of Rogue's Theme from X-Men Vs. Street Fighter. The music from this game and the other Capcom versus games is simply phenomenal. Always a pleasure to cover these themes.

Milky 2025-09-20 0817.mp3 Just a little something to take the edge off. Source:

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Donkey Kong Country - Aquatic Ambiance Remix | Astroverse Dimensions

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Magix pro audio division, including Samplitude and Sequoia, was recently sold to an American investor - and I'm anything but happy about it ---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- Based on my current knowledge of the approach taken by the new investor behind the former Magix DAWs Samplitude Music Studio (the semi-professional entry-level version of the DAW), Samlitude Pro X and Samplitude Pro X Suite (the professional DAW versions) and Sequoia (the professional DAW version with advanced broadcasting features), I wanted to advise against using these DAWs for the time being (unless you can still get an older version such as Samplitude Pro X8 Suite). This is because Magix has sold its gifted pro audio section to the American video and audio editing developer Boris FX, which I was not familiar with until these days, and I will probably stick with my good old DAW version Samplitude Pro X4 Suite for the time being. But take a look for yourself: https://borisfx.com/products/samplitude/ While the familiar DAWs are certainly not going to undergo any major changes, a few not entirely irrelevant things have already come to my attention, giving me the well-founded impression that the American investor is threatening to rip new customers off and downgrade or slim down the product. Here are a few examples: 1) The really good Independence Pro sampler, with its approximately 70 GB of high-quality VSTi sample content, plugins, and sound design tools, has been completely eliminated from the expanded Samplitude Pro X Suite - allegedly for licensing reasons associated with the takeover. Strangely enough, the Independence Pro sampler still seems to be included in the really expensive Sequoia, according to the total installation size of approx. 90 GB. https://borisfx.com/products/sequoia/ Since Independence was one of the core features of Samplitude Pro X Suite, which allowed you to do a lot in terms of composition and sound design, this is all the more sad. Those who already had the Independence Pro sampler in earlier versions of the DAW will still be able to use it in future upgrades. But for all new customers, this would be a real disadvantage. You would then have to purchase Independence Pro Premium Suite for around 300 euros on top of that in order to get the full range of features you were used to from previous versions of Samplitude Pro Suite: https://producerplanet.com/de/article/independence-pro-premium-suite-3121/ … 2) Problems may arise with some of the collected VST instruments that are exclusively owned by Magix and whose licensing rights are therefore not held by the new investor. This could lead to problems, especially with older music projects that use some of the affected Magix VSTis, at least as soon as you upgrade to a current version of Samplitude or Sequoia. ... 3) In this context, it is also not yet entirely clear how the old DAW licenses and a possible reactivation (for example, after installing a new operating system) will be handled, as these licenses were always managed by the parent company Magix. As a precaution, I am expecting the worst in the long term, but I am still hoping for the best. … 4) The new advertising intro for the DAW with AI language tools worries me a little in terms of the usual professionalism of the product. Presumably, one of the reasons for this is to save on personnel costs for voice actors and translators in typical American fashion, thereby maximizing profits. But when these AI voices, which already sound inhuman and incredibly stupid, can't even pronounce the DAW's product name correctly, and apparently no one even noticed this during testing, I can't help but wonder how future versions of the DAW will perform and what the once-excellent support for queries and bug fixes will look like. ... I will definitely keep you up to date as soon as there are any new developments regarding the DAW in the wake of the new investor - maybe I'm just being too pessimistic and should give the new company some time and space to restructure. Nevertheless, it will probably remain a mystery to me how an innovative, passionate DAW developer like Magix could come up with the unforgivable idea of selling off its legendary pro audio DAW series to an American investor (I would have had far fewer concerns, and even some hope for progress, if it had been a forward-thinking Japanese company in this field)... ... while the parent company Magix stubbornly clings to its immature, crash-prone toy DAW Magix Music Maker. As I recall, I once wrote to the company to the effect that they should completely scrap this buggy product (if only for marketing reasons) and instead promote the well-functioning and stable semi-professional Samplitude Music Studio as the new entry-level product into the DAW world of Magix (because Music Maker is basically the ultimate anti-advertisement for the company, which at the time almost dissuaded me from upgrading to Magix's professional product line, which, in stark contrast to Music Maker, offers some of the best DAWs on the global market). But if I remember correctly, the company really wanted to convince me that Samplitude Music Studio was too complex for many beginners and that Music Maker was very popular. Does Samplitude Music Studio seem overly complex to you? https://borisfx.com/products/music-studio/ I find it really hard to believe that, with such excellent products in Magix's pro audio division, the company's management consists of complete idiots who have no idea about the product or things like sales. To me, it feels more like this takeover had been planned for a long time without many people knowing about it. Sometimes a large sum of money simply flows behind the scenes, one hand washes the other, and suddenly a high-quality product that far-sighted developers and passionate people have worked on for many decades, or maybe even half the company, changes hands (or even continents) to the highest bidder. It wouldn't be the first time something like this has happened, and money might rule the world even in such matters (once again to the detriment of true progress and higher human ambitions). … Perhaps music, composition, mixing, mastering, and sound design need to be used much more like a powerful form of magic that fills people with such pleasure, lively intensity, and an engrossing otherworldly attitude to life when they listen to it that greed, selfishness, opportunism, and thoughts of status and luxury seem like tiny, completely insignificant things in comparison.

Heck yea. Within the first 5 seconds of the song, you know what you're in for. As someone who was around in the C64 days, and lucky enough to have access to one, this definitely takes me back. The original tune itself was working so hard considering it was for a puzzle game, and the remix brought that energy forward a couple of decades beautifully. Yeah it could have mixed things up a little more, but I can appreciate the song for what it is. Still laserin' well into the 21st century!

Thanks for the Pokemon Quest suggestion, I'll check it out :-) Regarding the repetition at 3:23, there's some subtle rhythm and texture changes so it's not totally the same! But I get that it seems similar.

Heavily suspect AI usage. If not, this heavily samples and relies on source audio. That alone is cause for rejection. There's also audible clipping throughout and is pushed super loud. 5.3 peak! NO

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Hi, sorry for bumping this thread from 2 years ago but the topic interests me. I'm both a VGM Arranger and a huge Kingdom Hearts fan (I feel in love with KH1 back in 2003 and been a fan since). While I don't have any experience with others playing my music, I feel I could provide something to this album idea (I have a unique style to my music with an emphasis on melody and write in Musescore). How much progress do you have on other themes besides Roxas? I could maybe provide an arrangement for Riku (maybe something representing his character growth and having decent energy), Xehanort (I've always wanted to do a theme for him), Saix/Isa (I think it would primarily incorporate "Sacred Moon"), the other villains (that could be fun), and/or Ventus.