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Great use (and mix) of the source tunes that still holds up. As others have said, it could be longer, but this remix creatively displays some of the ambience of Samus's journey within its short runtime.

Hey Eino! This piece has a real vibe going. Glad I checked out the sources before diving in, because there’s a lot of attention being paid to the ostinato figure from Ghost Castle working over the top of everything else. I’m in earbuds at the moment, though everything feels balanced (width, frequencies, etc.) I do think the ending needs to be stronger, especially for how much the final minute is setting it up. If it were me, I’d do that final melodic figure again with just some chord/bass stabs on the downbeats. Happy to give this one another listen after you’ve tinkered with the ideas you mentioned above, though! You’ve got a really good track here, won’t be surprised to see this one hit the panel soon. 🤘

Was this fixed? I ran a crawling script through https://ocremix.org/games/ and it didn't come up with any empty pages.

I prefer "If you chaNge nothing, youre music Is Wörth nothing". See? I changed One letter and It made all the differenze. (The other letter my scrummy autocorrect did change cuz im German.) Virt would Say the Same.

Listening on a JBL flip5. I'm pretty sure this Sounds good on whatever your listening to. But on this medium range JBL, the highs are overbearing whenever the Electro goes fullon. ...It doesn't sound phat. Maybe it's sidechaining and stuff and this only Sounds great on a good club PA or whatevs youre using. I can do the thinking work that this must sound gr8 on some system, Just alerting you that on a normal JBL It don't work so great. Cheers que, your a very talented musician! I liked your recent Zelda mix too! Just not my forte. But your remix reminded me of Zant pt1-5 and how much i wanna tackle that One...

Hey! Are there any rappers out and about looking to lend their skills to a beat I've been tinkering with? I've channeled some old-school Ozomatli hip-hop sound into this instrumental, which blends together samples from their famous "Cut Chemist Suite", "Saffron City" (from Super Smash Bros. 64), and lines from the Pokémon anime into something fresh, something groovy, something...jiggly. I definitely want to (eventually) add some turntable scratching to the mix. I've written Chali 2na-inspired lyrics for the rap, but don't have the skills myself to perform it. If anyone is down to talk about ideas or want to check out my lyrics, hit me up! I've linked the instrumental below: Thanks y'all! -Kirby

There’ve been a few reports of certain game, artist, and song pages turning up blank lately. I’ve encountered them myself and have been investigating these issues over the past few days. While I have an idea of what’s going on, I need some time to figure out a full fix. I appreciate the reports. If you come across any of these, please drop a link in the replies here.

Original: SEGA Genesis:

Thanks a lot @Dj Mokram I really appreciated that 😸It's a blast from the past isn't it? Great analysis and very generous and kind. I guess I should pay attention to the mastering/clipping. I'll give that a look. I have a new WIP but it's not quite finished towards the end: https://www.dropbox.com/scl/fi/lms8dwgym9g5rguuzhcz6/eino_keskitalo_-_ninjan_graali-20240621-wip.mp3?rlkey=gzbxdzf4uneebvnhtp9boh3fd&st=94xm9v53&dl=0 After the judge feedback I think I've fixed the bass level and reduced mix clutter & brought leads to the front better. I extended the end to the point where I think it doesn't feel like it ends prematurely. I'm intending to work on the last 8 or 16 bars (of 7/4) so it's less copy-paste and has more variety, and I was thinking of adding a coda of the intro arpeggio.

Oh ffs, what happened to the file? Editing the reply doesn't seem to work on my end. >:( Here's the most recent update of this remix (still in progress): Sand Trap (Revival).mp3

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

Original: SEGA Genesis:

Original: Mine:

Oh, trust me, I'm not diminishing your feedback, but I know the limits of the console, which this stays within, but it clips, causing the sound space issues. I actually use the DAC channel for samples, keeping my PSG channels available instead. I chose Crystal Clear mode for this (as I do for most mixes), as the hardware emulations released in recent years (I forget what they're called) allow this option. I know that in a real game, there will likely be more compression. I just like it to sound good for my younger audience. And yeah, that crackling is annoying as hell, but it might just be a phase click, could be something else. Definitely investigating that when I return to this.

Thank you for the feedback, definitely will develop this better in the future. Technically fits on the SEGA Genesis as is (assuming zero compression for game assets), but that being said, I'm still not satisfied with it right now.

Original: SEGA Genesis Drum n Bass remix:

i like how you combined these two themes quite a bit. its seamless, feels like one complete song rather than some attempts at mashing up sources which can sound inconsistent (im very guilty of this) i like the production on this quite a bit. that bass in particular feels really good and is well composed. the synths on top are very light and quirky at times, but they complement the dark energy of the track very well. very good job. i like this one a lot.

So, when I built this track, it was a continuation of my "Funk Overload" track. However, when building this one, I noticed the synthesizer sounded a lot like Motoi Sakuraba's signatures. As I continued, even the repetitions were sounding like him, so I said "what the hell, why not?" and didn't hold back. I figured, if I'm going to sound like Motoi Sakuraba, I might as well go all in - and man, when I say I went all in... I went all in! I'm telling you, I've got the samples to make it sound like a Tales game! Most notably, Tales of Symphonia, because that's one of Motoi's best tracks! EDIT: Forgot to mention, I implemented several fixes based on the feedback from my other video. 1) I made the transitions a respectable size instead of rushing them. 2) I made the variations longer so people could enjoy them. 3) I added MORE various variations to keep the track from being dull (I was told my previous Zelda BoTW song got dull at the end LOL) 4) I also made the song close to 10 minutes to give the track a full feel (how techno is supposed to be!). 5) I tried to go for a very unique intro, mid and mainstream drop with different variations (whew!). Here's hoping Motoi Sakuraba hears this one day and goes, "Hey, that's me! DJ Que is my clone!!"

I couldnt listen to the examples; Just askin: were These kinda Ambient Tunes? BC SM kinda introduced Ambient into VGM, and as much as i love Ambient i think it's one of the First to "Fall"; Ambient with some base melodic themes Is kinda Ez to do Alright. Just sayin.

Sounds so modern :) Ty For all the Musik 20 yrs ago maze, and keep rock in!!! (I honestly gotta listen to your newer stuff sometime. American Album lotsa plays But after that...)

Sounds phat on crappy JBL, i Like this new Intermezzo! You're striking gold methinks! Päd Sounds Amazing and ethnic lead as well!

Howdy, VQ! Also gonna reiterate live review notes for posterity: The judges honed in on the fuzziness happening from 3:25-4:09. It's highly likely to be too much saturation on something. This can be tamed with a high shelf cut around 6-8kHz or by pulling the saturation back about 10%. The modulation/key change into the same section was a great idea that needs the proper preparation for the listeners to stick with it. I think we determined you're going from Ab Major to E Major. Major third modulations are pretty easy to handle as modulations go -- I mentioned going to a shared chord between the keys but you don't have many between these two keys. However, Hemo suggested some tritone substitution action. In this case, do an Ab7 (Ab-C-Eb-Gb) chord into (in this case) a B7 (B-D#-F#-A) chord leading into the change into the E Major (E-G#-B). You can omit the 5ths on the 7 chords (Eb and F#, respectively) if you don't have enough voices to cover the chords -- but keep the 7th intervals spread out to minimize the potential dissonance.

Hi VQ! Gonna reiterate what I can from the live review: Be very selective about what voice is the focus in each section, and pare back parts that aren't providing texture for your rhythm and harmony lines Consider swapping the bass ostinato from Shinobi 3 in the middle sections of the piece with another melodic phrase from your sources; I recommend the descending arpeggio siren thing from Rise of the Robots This is gonna be a groove machine when you're done. It always sucks to go back and start from scratch on mixes but it's worth it in the end!

City pop is so fun! I'll write down and expand my comments from the Office Hours voice chat: Outside of altering your basic arrangement framework or the key, the drums plod by the end of the second chorus. The groove is interesting and complex but needs more variation to maintain listener interest subtly. Consider simplifying the beat during a verse or two -- hew the kick to the bass, maybe save the snare and clap for beat 4, roll back the complexity of the hi-hat pattern or drop the hats entirely. During the choruses -- perhaps especially the choruses framing the guitar solo -- use some anticipatory kick drum placements (the 'a' of 3 or 4, and/or the 'and' of 4) for some bars. These extra 16th note spots from the kick create anticipation for the downbeat, ramping the energy up a notch and propelling the beat forward. If it still feels plodding, consider dropping the drums out entirely for a verse and going to just the claps for a couple of bars. Without changing the basic beat pattern, you can also vary the hi-hat pattern by incorporating some open hi-hat spots (beat 4 or the 'and' of 4 are good spots on alternate bars, or go for the disco approach and open the hats on the upbeats). If you keep the 16th note flourishes in the closed hi-hats, try opening the 'a' 16th note between the closed hi-hats.

Hi CW! This is killer! Easy to see it doing well in a compo setting - strong composition and solid vocal performance throughout. Key change would be pretty cool - possibly toward the end if you don't do the whole track and use it as an effect for momentum. The length feels longer than it is with some of the things we mentioned in the live weekly workshop review, but I'll recap some things to address that: Changing up the beat around 3:30ish (after the solo section going into the 3rd chorus) - dropping out the drums to just claps, or kick-kick-kick-clap. 1-2dB of additional volume to the lead vocal in the choruses - this will help make the sax samples less exposed. Please please please keep cooking on this one when you have time, it's gonna be a big bop when you're finished!!!!!