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Still enjoying this remix! At first the change midpoint threw me off, but after a repeat listen I got over that quick. This tune actually makes me think of the Serpent Trench in FF6, itself also a great source. Regardless, good stuff, great energy 😎

Great remix that still rocks (blasts?). Tracks that focus on electric guitars aren't usually a draw for me, but this tune won me over long ago. As mentioned, too short! Regardless, good stuff 🤘

The chill is still going strong on my playlist. Classic game, classic remix 😎

Hi Devsman! So happy to see some Megaman Legends love!! Is the intention to keep this piece as just the 3 instruments? I’m not a pianist, however I’m not hearing anything in your piece that sounds impossible for a single player to accomplish. That said, the sequencing for both the piano and the flute needs more volume and velocity automation - the velocities sound the same throughout (particularly the piano), which make it hard to retain interest with the short melodic figure. Having the same reverb for your instruments is always a good idea, as it makes them sound like they are in the same space. Did you create a reverb send/bus or is it two instances of the same reverb plugin on the instrument channels? The concert bass drum rolls are a good way to signal the transitions, however they don’t sound like they are in the same space as the flute and piano. The other issue is that they are currently only being utilized for the transitions, which makes them feel a bit awkward in the space. Would you be against having them in one of the sections, like say the climax of the piece, to help drive everything toward the conclusion? The section at 2:51 would benefit a lot from the bass drums accenting those first two stabs on the piano each bar! Keep working on this one! Glad to read this is your return to music - definitely looking forward to what you’ve got cooking up next

Been listening to this track for a long time. May stick close to the original, but the source is great and I've always enjoyed the additional depth this remix adds. 👍👾👍

So there's a story with this one. Feel free to skip it. See the bolded line below. The year was 2004 and Business Tech Essentials was boring me to tears, when I discovered I could listen to remixed video game music for free instead of actually doing my work. Purely by coincidence, I had recently discovered Mega Man and become absolutely obsessed with it, which I remain to this day. So at a time when I was constantly searching for any video game tune that would be cool with some kind of twist, I stumbled upon Mega Man Legends. There's no shortage of cool tunes on that MML soundtrack, but this one particularly caught my ear. I think part of it was the context: while it makes sense for the ruin to get darker as you descend, this one actually gets brighter. Mysterious af. Anyway, I wrote up a pair of drafts of what I would want it to sound like: one as a grandiose pipe organ piece that (frankly) kinda sucked, and another as a more ambient tune that had more promise. I still really like the sound of that one, but I kinda ran out of ideas when it was like a minute and a half long, and I hated anything I tried to do to go forward from there, so I decided to take a break. I came back after a week, nothing. A month, nothing. The months turned to years. I met a girl, I finished high school, I decided to go into engineering instead of music (it was a tough decision, but ultimately a good one). Every now and then, I'd load up that midi (I told myself once I liked the arrangement and got to an ending, I'd update my techniques then) and listen to it, and see if I could figure out where to go next. Predictably, it never went anywhere. At this point, it was on a thumb drive since I had moved on from my dad's PC to my own laptop. Well, I graduated college, married that girl, lost that thumb drive somewhere along the way, and got into indie gamedev. Video games need music, and I wanted to do this thing right, so I upgraded my software, techniques and even tried to learn some composition from youtube videos and internet articles. I had kids with that girl, an OCR remix literally changed my life (https://ocremix.org/remix/OCR03719), and while all this was swirling through my head in the year 2023, I decided to give a listen to a classic album that was a favorite of mine: Elton John's Goodbye Yellow Brick Road. I've always thought it was kind of hilarious how the opener was two different songs just mashed together because why not, and I made a passing joke of it in my head: They should make an exception to copyright law... If you ever get writer's block, you should be allowed to just add Love Lies Bleeding to the end of your tune. Wait a minute... Writer's block? Didn't I have that once? OH YEAH. So now starting from scratch because that old midi of mine was long gone, I actually decided on a kind of low-intensity hard rock remix of yet again the same tune from Mega Man Legends, and figured, once I get stuck, I'll do that. I'll literally just glue on Love Lies Bleeding to the end of it. You know, just as a joke. And I did, and it was frankly kind of hilarious. I obviously couldn't submit that to OCRemix, but it did get the wheels turning in my head. And besides, what better way to hone my skills for composing an actual video game soundtrack than by practicing with a familiar tune and connecting with a community to get feedback? So I decided, once and for all, I was going to finish a remix of the Main Gate tune even if I hate it, and I was going to do it before the end of the year 2024, since that would be 20 years since my first attempt, and frankly I can't remember what day or month it was when I started. So you could say this thing is (kind of) 20 years in the making. ... Kinda sad, when you put it that way, actually. STORY OVER. IF YOU WERE SKIPPING IT, HERE IS WHERE YOU START NOW. While it's incomplete and needs a ton of help, here is my most recent swing at a Mega Man Legends Main Gate remix. Here's the original: In mine, I kinda wanted to lower the intensity as well as the tempo and focus on a couple of less common ideas that I have always found cool in spite of (or perhaps because of) their rarity: 1. Modulations to a lower key instead of a higher one. 2. Swapping the role of soloist (or in this case, soloists) and accompaniment so that the melody pretty much serves as context for interesting harmony. You can pick out the modulations easily because they're preceded by a change in the chord progression and accompanied by a bass drum roll. It transitions from B minor to Bb minor to A minor and finally A major right at the end. I love the way it feels when it resolves to the new key; there's a kind of contrast between losing energy by virtue of the modulation but raising tension in the composition. But I think those transitions are kinda awkward and/or abrupt. Especially the second one at 2:50. I also feel like things get a bit repetitive in a number of places. I mean, it's a pretty short chord progression (and tune in general) in the original, and layering the melody in/out only helps so much... I'm afraid I have no idea what to do with the piano in final major part, lol. Nor how to transition into it. Which is sad because the piano was the point, haha. I tried a couple of things and I hate all of it. I'd kind of like to do something other than arpeggios since I've been doing that for like 3 minutes at that point but it sounds awkward without some kind of movement. I do like the chords I chose for that part though, including the sus4-minor resolution and the Mario victory progression at the very end, so I'd like to keep it instead of just ending in A minor. Besides, the tension leading up to it HAS to go somewhere. There are also the obvious problems that this sounds super robotic and I don't actually have any clue how many hands you would need to play it (sorry, I'm not a pianist), which other than recruiting real musicians, I'm not sure how to solve, haha. And then there's the bass drum. I kinda like what it adds to the transitions, but I can't decide if it's awkward that those are the only times it does anything. I feel like it needs to either do more or get cut entirely. I tried adding in some more to the A minor section but it felt like it was intruding on what was supposed to be a pretty simple instrumentation. One last thing: do the piano and flute feel like they have roughly comparable amounts of reverb? I can't decide if that's what it is, but something feels off about the two voices together. So! Any comments, tips or pointers are very much welcome! Thanks! Gate.wav

Interesting that this conversation came up today. I literally just finished this entire album and dropped the release a few hours ago, and that mother brain track was something interesting. Hopefully, I can share it with you all in the future. But yes the arpeggios that seem chaotic and are very hard to iron down what they are actually doing with any traditional approach beyond 20th century harmony and heptatonic scales. First, it seemed quartal in nature; but then I would see a minor 3rd & #4th pop up here and there at the end of a phrase and then m6ths & M6ths with m7ths. So tons of chromatic notes. Clearly the idea was meant to sound chaotic unsettling and almost alive sounding, and he nailed it. Not sure I could stand behind any chord analysis; but if you wanted a rough idea where to start, maybe think about Fm11 with additional chromatic passing tones of #4s and both M6ths & m6ths played very staccato in 32nd notes. Not sure how much that helps but hope it does some. GL with the Metroiding/Jamming. Best, Aaron (MnG)

The stereo spread on this is wild, it feels very intentional and meticulous even if it's not. The more heavily reverbed elements work with the more dry kit instruments in a way that I wouldn't have expected. I don't have any constructive criticism to add beyond what you already know and what's already been mentioned, but you gotta finish this guy! YES (please)

I don't really have any constructive criticism but I had to comment on how much I love this, lol.

Yup! Tanaka wanted the score to have feel and mood, not be harmonically pleasing - and that first Metroid OST nailed it. Musique concréte is definitely a better classifier for it than, say, song.

Dude, this sounds more like a broken 8-bit lawnmower engine than a NES soundtrack. But I can well imagine how this "track" came about: --------------------------------------------------------------- CEO in the game development team: "Guys, the release of the game is tomorrow, but we still have to compose an extraordinary boss theme." Staff: "Boss, our schedule is filled to the brim - we have no capacity." CEO: "Heya, intern - we're relying on you. We need you to create something special in less than 30 minutes that even posterity will be talking about." Something special that even posterity will still be talking about: ...

Thanks! And Metroid is from Japan, so perhaps that's why. 🤷‍♂️ But at the time, I think this particular track by Hirokazu Tanaka was probably about as close to being musique concrète, experimental, or perhaps some kind of avant-garde in 8 bit form. 😃 Anyway, I'll take into consideration of what you said, as this is something I wasn't sure about how I'd approach it.

Inspired by an 8-bit cover I recently stumbled across. Radioactive.mp3

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Hi, I'm in a bit of a creative rut and looking for a way out. While my only experience with Fire Emblem is playing Three Houses and a RP server I'm in, I think I could provide an interesting remix for this album. I have a unique style and make electronic music (hard to classify) using Musescore and FL Studio Free Edition. I've been kicked off a few albums already for quality reasons (namely at Pixel Mixers) but I've been steadily improving my craft. I'll take one of the games nobody's claimed yet. Like I said, I don't have much experience with Fire Emblem in general but think that only makes it a better challenge. I might need to a list of significant tracks for one of the unclaimed games but I'd like to join this project.

Hi Uffe! The track you linked doesn’t sound like it contains western harmony functional chords inside. I’m hearing trills between half-step notes and an occasional whole-step note to make the tension ramp. However, to answer your question, the method I use to determine chords when listening to arpeggios is to listen for the lowest note and then work out what the interval is between it and the closest note to it, then do the same for the next note. The relationship between the intervals will usually give you the biggest clue to the chord. Sometimes there can be multiple chords being outlined during a single arpeggiated melodic line. It’s not always easy to pick out when this is happening, though one trick for that is to listen to the harmony/support instruments and if the notes shift under a particular spot in the melody, it’s highly likely that the chord has changed

I hate to ask this question, because I don't know if the arpeggio is entirely ignored, or if you have to figure out how many chords are within one measure. My question comes from the video below, though. Ridley's Lair does the same thing, but for Mother Brain's theme, it comes off as extreme. So how do I figure out the chords when the top (or bottom) section uses rapid arpeggios? I'm not asking anyone to figure these chords out for me, I'll do that myself if I can get an answer. Thanks in advance!

STILL grooving 😁 Great chill track that is still on the regular playlist. Another great tune by MkVaff. Tight production, lovely flow, a short ending (as has been said) but a real gem.

Very immersive! And quite impressive that this is all recorded live. Bring us more!

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I would love the windy critical. Gonna power / prog metal (and probably borrow some from not critical)

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I'm liking the Rush-vibes. Reminds me of their Power Windows phase.